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"title": "Hungarian Metal, Israeli Pop, Dancing Robots: It Must Be Time for Eurovision",
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"content": "\u003cp>Fans of key changes, pyrotechnics and nonsensical lyrics are getting ready for their equivalent of the World Cup, taking place in Lisbon, Portugal this week, the first time the country has hosted the competition. The 63rd edition of the Eurovision Song Contest semi-finals start Tuesday and continue this Thursday, with the singing competition’s grand finals on Saturday.\u003c/p>\n\u003cp>Each year, the contest is hosted by the previous year’s winner, with an audience estimated to be around 180 million people worldwide. The contest helped launch the careers of Abba and Celine Dion, and is known for its idiosyncratic, over-the-top performances.\u003c/p>\n\u003cp>Salvador Sobral \u003ca href=\"https://www.npr.org/sections/therecord/2017/05/14/528352454/after-a-fraught-year-eurovision-crowns-portugals-salvador-sobral\">won on behalf of Portugal last year\u003c/a> with an understated but emotional performance of his song “Amar Pelos Dois.” After winning, Sobral decried what he called “fast-food music,” a seeming swipe at the cheeseball pop that is Eurovision’s bread-and-butter.\u003c/p>\n\u003cp>He told the crowd at the time that his win “could be a victory for … people that make music that actually means something. Music is not fireworks, music is feeling. So let’s try to change this and bring music back, which is really what matters.”\u003c/p>\n\u003cp>Despite Sobral’s overtures to the higher-brow and the progress to that end his win represented, it appears it could be a short-lived victory — most of this year’s favorites to win fall firmly into the category of campy, classically Eurovision, pop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year’s favorite to win — at least, \u003ca href=\"https://eurovisionworld.com/odds/eurovision\">according\u003c/a> to bookies — is Israel’s entry, the song \u003ca href=\"https://www.youtube.com/watch?v=CziHrYYSyPc\">“Toy” by Netta\u003c/a>. It’s a catchy dance number, buttressed with a message of female empowerment, with Netta declaring: “I’m not your toy, you stupid boy.” And for reasons not entirely made clear, she and her backup dancers also lean heavily into what can only be described as a chicken dance routine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CziHrYYSyPc\u003c/p>\n\u003cp>The betting public also think Norway’s Alexander Rybak (who was behind 2009’s winning entry, the song “Fairytale”) might win with his on-the-nose “\u003ca href=\"https://www.youtube.com/watch?v=Mvxni-WcD9A\">That’s How You Write A Song\u003c/a>.” It’s a cheesy, upbeat tune that… well, features advice on how to write a song. Eurovision does not shy away from the meta.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mvxni-WcD9A\u003c/p>\n\u003cp>There’s another favorite going into the contest that breaks from the cheesy to take on a political issue. Madame Monsieur’s “\u003ca href=\"https://www.youtube.com/watch?v=dHb-gWC-WTc\">Mercy\u003c/a>,” France’s entry, is an electro-pop tune inspired by the story of a baby named Mercy, \u003ca href=\"https://www.billboard.com/articles/news/8390266/madame-monsieur-mercy-eurovision\">born to a refugee\u003c/a> on a French rescue ship in the Mediterranean.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=y4xlvh6qW6M\" target=\"_blank\" rel=\"noopener\">Finland\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=eDSgs6syrgg\" target=\"_blank\" rel=\"noopener\">Cyprus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=k6_oxE2MxZE\" target=\"_blank\" rel=\"noopener\">Czech Republic\u003c/a> have also fielded strong contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dHb-gWC-WTc\u003c/p>\n\u003cp>And it’s not just pop music competing. There’s \u003ca href=\"https://www.youtube.com/watch?v=76KOUIfDry8\">opera from Estonia\u003c/a>; country \u003ca href=\"https://www.youtube.com/watch?v=8TowcElmyek\">from the Netherlands\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=w00c8KbQIME\">metal from Hungary\u003c/a>. But it wouldn’t be Eurovision without performances that leave you unsure of what, exactly, just happened.\u003c/p>\n\u003cp>San Marino, the micro-state with a population of just 33,000, has taken an early lead when it comes to inexplicable staging, with its entry featuring miniature dancing robots and a rapper from San Marino’s (presumably) nascent rap scene recommending personal strength in the face of online bullying: “If they dissin’ you on Twitter / Don’t get sad, don’t be bitter / Don’t give up and be a quitter / Show em’ you’re better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNflc1Zcw2A\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The finale of this year’s Eurovision Song Contest airs in the United States on Logo TV Saturday, May 12, with semi-finals scheduled for May 8 and 10.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. 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It’s a catchy dance number, buttressed with a message of female empowerment, with Netta declaring: “I’m not your toy, you stupid boy.” And for reasons not entirely made clear, she and her backup dancers also lean heavily into what can only be described as a chicken dance routine.\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/CziHrYYSyPc'\n title='//www.youtube.com/embed/CziHrYYSyPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The betting public also think Norway’s Alexander Rybak (who was behind 2009’s winning entry, the song “Fairytale”) might win with his on-the-nose “\u003ca href=\"https://www.youtube.com/watch?v=Mvxni-WcD9A\">That’s How You Write A Song\u003c/a>.” It’s a cheesy, upbeat tune that… well, features advice on how to write a song. Eurovision does not shy away from the meta.\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/Mvxni-WcD9A'\n title='//www.youtube.com/embed/Mvxni-WcD9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s another favorite going into the contest that breaks from the cheesy to take on a political issue. Madame Monsieur’s “\u003ca href=\"https://www.youtube.com/watch?v=dHb-gWC-WTc\">Mercy\u003c/a>,” France’s entry, is an electro-pop tune inspired by the story of a baby named Mercy, \u003ca href=\"https://www.billboard.com/articles/news/8390266/madame-monsieur-mercy-eurovision\">born to a refugee\u003c/a> on a French rescue ship in the Mediterranean.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=y4xlvh6qW6M\" target=\"_blank\" rel=\"noopener\">Finland\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=eDSgs6syrgg\" target=\"_blank\" rel=\"noopener\">Cyprus\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=k6_oxE2MxZE\" target=\"_blank\" rel=\"noopener\">Czech Republic\u003c/a> have also fielded strong contenders.\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/dHb-gWC-WTc'\n title='//www.youtube.com/embed/dHb-gWC-WTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s not just pop music competing. There’s \u003ca href=\"https://www.youtube.com/watch?v=76KOUIfDry8\">opera from Estonia\u003c/a>; country \u003ca href=\"https://www.youtube.com/watch?v=8TowcElmyek\">from the Netherlands\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=w00c8KbQIME\">metal from Hungary\u003c/a>. But it wouldn’t be Eurovision without performances that leave you unsure of what, exactly, just happened.\u003c/p>\n\u003cp>San Marino, the micro-state with a population of just 33,000, has taken an early lead when it comes to inexplicable staging, with its entry featuring miniature dancing robots and a rapper from San Marino’s (presumably) nascent rap scene recommending personal strength in the face of online bullying: “If they dissin’ you on Twitter / Don’t get sad, don’t be bitter / Don’t give up and be a quitter / Show em’ you’re better.”\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/ZNflc1Zcw2A'\n title='//www.youtube.com/embed/ZNflc1Zcw2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The finale of this year’s Eurovision Song Contest airs in the United States on Logo TV Saturday, May 12, with semi-finals scheduled for May 8 and 10.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. 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"title": "NPR Announces Tiny Desk Tour; La Misa Negra, Eki Shola Open in Petaluma",
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"content": "\u003cp>Naia Izumi, the husky-voiced, nimble-fingered guitarist from L.A. by way of Georgia, is the winner of this year’s Tiny Desk Concert, and NPR just announced the Tiny Desk On the Road Tour, kicking off on May 21 in Brooklyn.\u003c/p>\n\u003cp>On June 11, Izumi comes to Petaluma for the Bay Area stop of the tour at Lagunitas Taproom, co-presented by KQED and KRCB. This year’s local openers are \u003ca href=\"https://www.kqed.org/arts/13809210\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>, the popular cumbia band known for its boisterous live shows; jazz singer and composer Eki Shola; and one other Bay Area band to be announced.\u003c/p>\n\u003cp>Izumi has a fascinating life story: his song that won over NPR’s judges, “Soft Spoken,” is about feeling underestimated when he presented as a woman. In an \u003ca href=\"https://www.npr.org/templates/transcript/transcript.php?storyId=605005960\" target=\"_blank\" rel=\"noopener\">interview with NPR\u003c/a>, Izumi was candid about his gender fluidity as well as his experiences living with autism.\u003c/p>\n\u003cp>Check out Izumi’s winning Tiny Desk Contest entry below and click \u003ca href=\"https://www.nprpresents.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for show details and tickets.\u003c/p>\n\u003cp>https://youtu.be/nk8HEO_60ms\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Naia Izumi, the husky-voiced, nimble-fingered guitarist from L.A. by way of Georgia, is the winner of this year’s Tiny Desk Concert, and NPR just announced the Tiny Desk On the Road Tour, kicking off on May 21 in Brooklyn.\u003c/p>\n\u003cp>On June 11, Izumi comes to Petaluma for the Bay Area stop of the tour at Lagunitas Taproom, co-presented by KQED and KRCB. This year’s local openers are \u003ca href=\"https://www.kqed.org/arts/13809210\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>, the popular cumbia band known for its boisterous live shows; jazz singer and composer Eki Shola; and one other Bay Area band to be announced.\u003c/p>\n\u003cp>Izumi has a fascinating life story: his song that won over NPR’s judges, “Soft Spoken,” is about feeling underestimated when he presented as a woman. In an \u003ca href=\"https://www.npr.org/templates/transcript/transcript.php?storyId=605005960\" target=\"_blank\" rel=\"noopener\">interview with NPR\u003c/a>, Izumi was candid about his gender fluidity as well as his experiences living with autism.\u003c/p>\n\u003cp>Check out Izumi’s winning Tiny Desk Contest entry below and click \u003ca href=\"https://www.nprpresents.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for show details and tickets.\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/nk8HEO_60ms'\n title='//www.youtube.com/embed/nk8HEO_60ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Some festivals feel more like social events than musical ones. But at this past weekend’s inaugural San Francisco edition of \u003ca href=\"https://www.kqed.org/arts/13826840\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a>, the international electronic music festival, the see-and-be-seen factor didn’t really apply — partly because most of its events took place in near-total darkness. Mutek felt more like a true art experience than a music festival with some art tacked onto it. The event kicked off May 3 at the California Academy of Sciences, where DJs playing ambient music seamlessly complemented the surrounding exhibits, and continued through May 6 with dance parties, sit-down theater shows and interactive installations.\u003c/p>\n\u003cp>Mutek paired forward-thinking artists with unusual locations: the basement of the historic Mint building, for example, with audiovisual installations in the rooms where the federal government once stored gold and other currency. Herbst Theatre, the stately classical music venue, became the site of futuristic performances with bass so loud it became a physical sensation. The many interactive elements throughout the festival, at venues like the Midway, where viewers immersed themselves in rooms flooded with colorful neon light patterns, gave Mutek a sense of playfulness and kept it from feeling self-serious.\u003c/p>\n\u003cp>Then, of course, there were the dance parties. Mutek’s booking featured many rare and international artists, many of whom seldom play on the West Coast. The headliners weren’t ones one might recognize from the charts; they were more of the “musician’s musican” variety, with dancehall duo Equiknoxx; Detroit techno producers Galaxy 2 Galaxy, Aux 88 and Derrick May; and ambient producer Tim Hecker.\u003c/p>\n\u003cp>Overall, Mutek did an admirable job giving people a place to party while challenging them intellectually. Read our highlights after the photo slideshow.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" ids=\"13831555,13831557,13831556,13831554,13831553,13831552,13831551,13831549,13831547,13831546,13831545,13831544,13831543,13831542,13831541,13831540,13831538,13831537,13831536,13831535,13831534,13831533,13831532\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>Aux 88 Turned Mezzanine All the Way Up\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tom Tom and DJ K-1 of Aux 88 looked like ambassadors from a retro vision of the future on stage at the Mezzanine on Saturday night in their neon orange jumpsuits with light-up name tags. Immediately, the crowd pulsed along to their ’90s Detroit techno and electro-funk; their take on techno called to mind the earliest of hip-hop productions with their disco roots, and the jovial show felt like one huge block party.\u003c/p>\n\u003cp>Some of the other Mutek concerts had an ultra-serious tone. Not Aux 88’s performance: their infectious break beats and talk-box rapping lit up the dance floor and put smiles on people’s faces. They proved that techno can be soulful rather than robotic.\u003c/p>\n\u003cfigure id=\"attachment_13831412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg\" alt=\"8ULENTINA and Davia Spain play night four of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">8ULENTINA and Davia Spain play night four of the 2018 Mutek festival at the Midway. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>8ulentina and Davia Spain Made the Midway a Runway\u003c/strong>\u003c/p>\n\u003cp>Davia Spain looked regal in her thigh-high books as she strutted between stacks of speakers, braids whipping behind her, as 8ulentina concentrated on their CDJs with laser focus. 8ulentina — a producer and co-founder of Oakland’s popular, genre-bending party Club Chai — played a visceral, percussion-driven techno set with the weightiness of clanging doors and falling hammers.\u003c/p>\n\u003cp>The only track with prominent vocals 8ulentina mixed in was “Keylime OG” by Rico Nasty, a hyped-up, punk-rap fighting anthem; flourishes of reggaeton found their way into 8ulentina’s set too, weaving their industrial aesthetic into an international tapestry of beats.\u003c/p>\n\u003cp>A rack of garments that 8ulentina designed and sewed was next to the DJ booth. Spain tried on the various trousers and halter tops — which had a femme workwear vibe — posing, pouting and twerking on the speakers. The performance ended with Spain getting on the mic, closing out 8ulentina’s set with a haunting, layered track of reverb-laden vocals.\u003c/p>\n\u003cfigure id=\"attachment_13831295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg\" alt=\"Galaxy 2 Galaxy Secret plays night one of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galaxy 2 Galaxy perform at the first night of the 2018 Mutek festival at Bimbo’s 365 Club. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Galaxy 2 Galaxy Took Jazz to Outer Space at Bimbo’s 365 Club\u003c/strong>\u003c/p>\n\u003cp>A four-on-the-floor club beat might seem like an unusual canvas for jazz improvisation, but it works surprisingly well; I had never seen a crowd dance using all four limbs at a jazz show prior to watching Galaxy 2 Galaxy perform at the Mutek kick-off at Bimbo’s 365 Club on May 3.\u003c/p>\n\u003cp>Galaxy 2 Galaxy had the foresight to invent what they call “hi-tech jazz” in 1993, merging Detroit techno with live instrumentation. At Bimbo’s, producer “Mad” Mike Banks expertly set the pace on his synth and then floated away like an apparition, leaving space for the large ensemble to do its thing. Bassist William Pope grooved with a huge smile on his face, his fingers seemingly moving a hundred miles a minute. Saxophonist DeSean Jones likely caused more than a few show-goers to speculate about his superhuman lung capacity.\u003c/p>\n\u003cp>At times, Galaxy 2 Galaxy’s performance felt like an organic jazz jam session, but when Banks and the DJ Skurge, who was behind the turntables, returned to the stage periodically, the show turned back into a rave. The potent musical alchemy on stage was an unmistakable reminder of the black roots of both jazz and techno — and how African-American musicians have been on the cutting edge of both for decades.\u003c/p>\n\u003cfigure id=\"attachment_13831311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg\" alt=\"Michela Pelusio performs night two of the 2018 Mutek SF Festival.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890.jpg 1835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michela Pelusio performs on May 4 at Herbst Theatre for the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michela Pelusio Made Magic With Spinning Rope\u003c/strong>\u003c/p>\n\u003cp>The audience was immersed in total darkness when Michela Pelusio took the stage at Herbst Theatre on Friday night. She looked like a sorceress, standing before a cauldron-like metal object on the ground that emitted a ray of light stretching all the way up to the ceiling.\u003c/p>\n\u003cp>That mysterious object was Pelusio’s own invention: the SpaceTime Helix, an audiovisual instrument that projects light while spinning a piece of fabric connected to the ceiling. The \u003cem>swish\u003c/em> of the spinning rope is amplified, distorted and couched in eerie electronics to create a sort of kinetic soundtrack. The rope spins above the strobe light that causes it to appear to multiply and change color, creating 3D shapes in the air that look like DNA.\u003c/p>\n\u003cp>https://youtu.be/0Zs9PT41TOU\u003c/p>\n\u003cp>Af first, the audience at Herbst was stupefied by this optical illusion. But about halfway into the performance, Pelusio came up to the rope and started touching it, changing its shape by applying pressure with her hands. It was hypnotizing, deceptively simple and definitely weird — a treat to see at Herbst Theatre, a venue usually reserved for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13831403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg\" alt=\"Tim Hecker plays night three of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hecker plays at Gray Area on May 5 for the third night of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tim Hecker Entraced the Audience in the Dark\u003c/strong>\u003c/p>\n\u003cp>As a counterpoint to all of Mutek’s dance parties, Tim Hecker’s Saturday night set at Gray Area was an introspective, meditative journey. The theater was pitch dark, the air thick with sweat from previous festivities. Hecker took the stage and, though you couldn’t see him — or anyone, for that matter — I intuited that the bodies in the room were alert and raptly paying attention.\u003c/p>\n\u003cp>Hecker built layers of discordant elements — what sounded like screeching guitar, echoing percussion and atmospheric synths — into an ambient composition that was heavy like fog, drenched in dread and foreboding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some festivals feel more like social events than musical ones. But at this past weekend’s inaugural San Francisco edition of \u003ca href=\"https://www.kqed.org/arts/13826840\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a>, the international electronic music festival, the see-and-be-seen factor didn’t really apply — partly because most of its events took place in near-total darkness. Mutek felt more like a true art experience than a music festival with some art tacked onto it. The event kicked off May 3 at the California Academy of Sciences, where DJs playing ambient music seamlessly complemented the surrounding exhibits, and continued through May 6 with dance parties, sit-down theater shows and interactive installations.\u003c/p>\n\u003cp>Mutek paired forward-thinking artists with unusual locations: the basement of the historic Mint building, for example, with audiovisual installations in the rooms where the federal government once stored gold and other currency. Herbst Theatre, the stately classical music venue, became the site of futuristic performances with bass so loud it became a physical sensation. The many interactive elements throughout the festival, at venues like the Midway, where viewers immersed themselves in rooms flooded with colorful neon light patterns, gave Mutek a sense of playfulness and kept it from feeling self-serious.\u003c/p>\n\u003cp>Then, of course, there were the dance parties. Mutek’s booking featured many rare and international artists, many of whom seldom play on the West Coast. The headliners weren’t ones one might recognize from the charts; they were more of the “musician’s musican” variety, with dancehall duo Equiknoxx; Detroit techno producers Galaxy 2 Galaxy, Aux 88 and Derrick May; and ambient producer Tim Hecker.\u003c/p>\n\u003cp>Overall, Mutek did an admirable job giving people a place to party while challenging them intellectually. Read our highlights after the photo slideshow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aux 88 Turned Mezzanine All the Way Up\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tom Tom and DJ K-1 of Aux 88 looked like ambassadors from a retro vision of the future on stage at the Mezzanine on Saturday night in their neon orange jumpsuits with light-up name tags. Immediately, the crowd pulsed along to their ’90s Detroit techno and electro-funk; their take on techno called to mind the earliest of hip-hop productions with their disco roots, and the jovial show felt like one huge block party.\u003c/p>\n\u003cp>Some of the other Mutek concerts had an ultra-serious tone. Not Aux 88’s performance: their infectious break beats and talk-box rapping lit up the dance floor and put smiles on people’s faces. They proved that techno can be soulful rather than robotic.\u003c/p>\n\u003cfigure id=\"attachment_13831412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg\" alt=\"8ULENTINA and Davia Spain play night four of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8958-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">8ULENTINA and Davia Spain play night four of the 2018 Mutek festival at the Midway. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>8ulentina and Davia Spain Made the Midway a Runway\u003c/strong>\u003c/p>\n\u003cp>Davia Spain looked regal in her thigh-high books as she strutted between stacks of speakers, braids whipping behind her, as 8ulentina concentrated on their CDJs with laser focus. 8ulentina — a producer and co-founder of Oakland’s popular, genre-bending party Club Chai — played a visceral, percussion-driven techno set with the weightiness of clanging doors and falling hammers.\u003c/p>\n\u003cp>The only track with prominent vocals 8ulentina mixed in was “Keylime OG” by Rico Nasty, a hyped-up, punk-rap fighting anthem; flourishes of reggaeton found their way into 8ulentina’s set too, weaving their industrial aesthetic into an international tapestry of beats.\u003c/p>\n\u003cp>A rack of garments that 8ulentina designed and sewed was next to the DJ booth. Spain tried on the various trousers and halter tops — which had a femme workwear vibe — posing, pouting and twerking on the speakers. The performance ended with Spain getting on the mic, closing out 8ulentina’s set with a haunting, layered track of reverb-laden vocals.\u003c/p>\n\u003cfigure id=\"attachment_13831295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831295\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg\" alt=\"Galaxy 2 Galaxy Secret plays night one of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7796-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Galaxy 2 Galaxy perform at the first night of the 2018 Mutek festival at Bimbo’s 365 Club. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Galaxy 2 Galaxy Took Jazz to Outer Space at Bimbo’s 365 Club\u003c/strong>\u003c/p>\n\u003cp>A four-on-the-floor club beat might seem like an unusual canvas for jazz improvisation, but it works surprisingly well; I had never seen a crowd dance using all four limbs at a jazz show prior to watching Galaxy 2 Galaxy perform at the Mutek kick-off at Bimbo’s 365 Club on May 3.\u003c/p>\n\u003cp>Galaxy 2 Galaxy had the foresight to invent what they call “hi-tech jazz” in 1993, merging Detroit techno with live instrumentation. At Bimbo’s, producer “Mad” Mike Banks expertly set the pace on his synth and then floated away like an apparition, leaving space for the large ensemble to do its thing. Bassist William Pope grooved with a huge smile on his face, his fingers seemingly moving a hundred miles a minute. Saxophonist DeSean Jones likely caused more than a few show-goers to speculate about his superhuman lung capacity.\u003c/p>\n\u003cp>At times, Galaxy 2 Galaxy’s performance felt like an organic jazz jam session, but when Banks and the DJ Skurge, who was behind the turntables, returned to the stage periodically, the show turned back into a rave. The potent musical alchemy on stage was an unmistakable reminder of the black roots of both jazz and techno — and how African-American musicians have been on the cutting edge of both for decades.\u003c/p>\n\u003cfigure id=\"attachment_13831311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831311\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg\" alt=\"Michela Pelusio performs night two of the 2018 Mutek SF Festival.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_7890.jpg 1835w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michela Pelusio performs on May 4 at Herbst Theatre for the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michela Pelusio Made Magic With Spinning Rope\u003c/strong>\u003c/p>\n\u003cp>The audience was immersed in total darkness when Michela Pelusio took the stage at Herbst Theatre on Friday night. She looked like a sorceress, standing before a cauldron-like metal object on the ground that emitted a ray of light stretching all the way up to the ceiling.\u003c/p>\n\u003cp>That mysterious object was Pelusio’s own invention: the SpaceTime Helix, an audiovisual instrument that projects light while spinning a piece of fabric connected to the ceiling. The \u003cem>swish\u003c/em> of the spinning rope is amplified, distorted and couched in eerie electronics to create a sort of kinetic soundtrack. The rope spins above the strobe light that causes it to appear to multiply and change color, creating 3D shapes in the air that look like DNA.\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/0Zs9PT41TOU'\n title='//www.youtube.com/embed/0Zs9PT41TOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Af first, the audience at Herbst was stupefied by this optical illusion. But about halfway into the performance, Pelusio came up to the rope and started touching it, changing its shape by applying pressure with her hands. It was hypnotizing, deceptively simple and definitely weird — a treat to see at Herbst Theatre, a venue usually reserved for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13831403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg\" alt=\"Tim Hecker plays night three of the 2018 Mutek SF Festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8373-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hecker plays at Gray Area on May 5 for the third night of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tim Hecker Entraced the Audience in the Dark\u003c/strong>\u003c/p>\n\u003cp>As a counterpoint to all of Mutek’s dance parties, Tim Hecker’s Saturday night set at Gray Area was an introspective, meditative journey. The theater was pitch dark, the air thick with sweat from previous festivities. Hecker took the stage and, though you couldn’t see him — or anyone, for that matter — I intuited that the bodies in the room were alert and raptly paying attention.\u003c/p>\n\u003cp>Hecker built layers of discordant elements — what sounded like screeching guitar, echoing percussion and atmospheric synths — into an ambient composition that was heavy like fog, drenched in dread and foreboding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Three More Women Come Forward To Accuse R. Kelly Of Abuse",
"headTitle": "Three More Women Come Forward To Accuse R. Kelly Of Abuse | KQED",
"content": "\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\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=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 4 at 6:35 PM ET.\u003c/strong>\u003c/p>\n\u003cp>In a week of renewed attention to two decades’ worth of allegations of abuse and sexual misconduct against R&B singer R. Kelly, a pair of new reports from \u003cem>BuzzFeed News\u003c/em> and the \u003cem>Washington Post \u003c/em>published on Friday, bringing forward allegations from three more women who say they were abused by Kelly.\u003c/p>\n\u003cp>These new accusations come after the women of color group within the Time’s Up movement \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">added\u003c/a> their voices to an existing online campaign called #MuteRKelly, which asks for the music industry to cut ties to the singer, and a controversial response from Kelly’s management team which calls the campaign an “attempted public lynching.”\u003c/p>\n\u003cp>On Friday morning, \u003cem>BuzzFeed News\u003c/em> \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-sexual-abuse-allegations-lizzette-martinez-times-up\">published\u003c/a> allegations from two women about the singer’s alleged sexual abuse, written by reporters Jim DeRogatis, who has been reporting on accusations against Kelly since the year 2000, and Marisa Carroll.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.vox.com/conversations/2017/7/24/16019646/r-kelly-sex-cult-jim-derogatis\">interview\u003c/a> with Vox published last July, the Chicago-based DeRogatis (who is a co-host of the program \u003cem>Sound Opinions\u003c/em> on Member Station WBEZ) said: “The thing that makes me sick to my stomach is it’s impossible, in Chicago, to walk three or four blocks in the music communities of the South and West Side and not find ten people who have stories about R. Kelly, or their cousin has a story about him, or their sister.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the women who spoke to \u003cem>BuzzFeed\u003c/em> is Lizzette Martinez, who says that she began to have a relationship with Kelly when she was a 17-year-old high school senior in Florida and the singer was 28. Martinez says that Kelly hit her on five occasions, and that he pressured her against her will into performing sexual acts. She also told \u003cem>BuzzFeed\u003c/em> that Kelly dictated her behavior: “What I wore, how I spoke, who my friends were, who I could bring around … He’s just so controlling, so abusive.”\u003c/p>\n\u003cp>The other woman who spoke to \u003cem>Buzzfeed\u003c/em> is a Chicago mother going by only her first name of “Michelle”; her daughter, “N,” also began a relationship with Kelly when she was 17. Michelle says that her daughter, who is now 27 years old, has been “brainwashed” by Kelly and is part of the alleged R. Kelly “cult,” and that the few phone calls she has received from N. in the past few years are “like prison calls.”\u003c/p>\n\u003cp>Kelly and his management continue to deny all allegations of abuse. In response to NPR’s request for comment, management said: “Mr. Kelly does not deny that during his youth and early success, he slept with many women, some of whom sought his company because of his success, and some of whom in later years now view their interaction with him negatively. He hopes and believes he treated his women friends well, and if any of them now feel differently about how they were treated, he respects their feelings and has no interest in attacking them or seeking to invalidate their feelings.”\u003c/p>\n\u003cp>On Friday afternoon, the \u003cem>Washington Post\u003c/em> published a lengthy investigation by reporter Geoff Edgars in which six women spoke to the paper about Kelly’s alleged abusive relationships; two of the women, Tracy Sampson and Patrice Jones (who both say that they have received settlements from Kelly) have never spoken publicly about him before.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also interviewed two senior music executives who were instrumental in building Kelly’s career, who spoke on the record about their attitudes towards the allegations.\u003c/p>\n\u003cp>Sampson met Kelly as a 16-year-old intern working for Epic Records. She told the \u003cem>Post \u003c/em>that she hid the relationship from her parents and that she was pressured into sexual acts. Jones says that she was 17 years old when she became pregnant by Kelly, who was then married, and that he pressured her into getting an abortion.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also replicated several text messages that purport to demonstrate how his live-in girlfriends have to seek permission for even bodily functions such as using the bathroom.\u003c/p>\n\u003cp>Kelly’s former tour manager, Demetrius Smith, told the \u003cem>Post \u003c/em>that he warned Clive Calder — the billionaire founder of Kelly’s first label, Jive Records — about Kelly’s behavior. According to the Washington paper, Calder said that he regretted not intervening somehow. “But I’m not a psychiatrist,” Calder told the \u003cem>Post\u003c/em>, adding “and this guy is a troubled guy. Clearly, we missed something.”\u003c/p>\n\u003cp>Calder also said that Kelly’s former attorney, the late Gerald Margolis, had told him that reporter Jim DeRogatis had “an ax to grind” against Kelly.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Larry Khan, the current head of urban radio promotions at Interscope Records and former Jive senior vice president for marketing. Khan told the paper that he had seen a portion of the tape that triggered the 21-count indictment on child pornography charges, but questioned, rhetorically, whether it was a record company’s place to address a performer’s behavior, citing the offstage lives of Jerry Lee Lewis and Chuck Berry as well as Bill Cosby and his relationship to NBC.\u003c/p>\n\u003cp>The \u003cem>Post\u003c/em> also spoke to Sampson’s former supervisor at Epic, Cathy Carroll, who said, “Rob is really a good person … he’s got a very good heart … A lot of these women who claim stuff, they put themselves out there like that, and then they want to turn around and sue people and sue men.”\u003c/p>\n\u003cp>In 2008, a jury in Chicago acquitted Kelly of all child pornography charges; the jury foreman in the trial, Jamon Mytty, told the \u003cem>Post\u003c/em> that the verdict was reached because both the female minor allegedly seen in the video and her parents declined to testify, and therefore the jury had reasonable doubt that she was the person in the video. (DeRogatis says in the Vox interview that neither the young woman nor her parents cooperated with police at all, though three dozen witnesses did.)\u003c/p>\n\u003cp>According to the \u003cem>Post, \u003c/em>RCA Records recently paid for six weeks of studio time in Los Angeles, ostensibly for an upcoming recording project. One worker at the studio spoke to the \u003cem>Post\u003c/em> anonymously, and said that the the studio floor had been badly damaged with urine stains, and that a cup of urine was left on a piano, for which the studio billed RCA. A former member of Kelly’s team sent the \u003cem>Post\u003c/em> pictures of the damage. RCA did not reply to the \u003cem>Post \u003c/em>with comment.\u003c/p>\n\u003cp>RCA has not responded to multiple requests from NPR for comment since Time’s Up published its open letter on Monday.\u003c/p>\n\u003cp>Kelly is \u003ca href=\"https://apnews.com/d5bd676d5d3645128fe2dcef30d8e4c3\">quoted\u003c/a> by the Associated Press on Friday as saying that he was “heartbroken” by the accusations. Referring to himself as a “God-fearing man, a son, a brother and most importantly a father,” he said that allegations “perpetuated by the media” are “an attempt to distort my character and to destroy my legacy that I have worked so hard to build.”\u003c/p>\n\u003cp>However, his management team told NPR on Friday afternoon that the statement attributed to Kelly by the AP was “an erroneous, unauthorized statement that never was said by R. Kelly himself, nor was it written or distributed by the R. Kelly management team. Mr. Kelly rejects the points the statement tries to make, and we deny all association with it… we are looking into what went wrong here.”\u003c/p>\n\u003cp>Kelly’s management team also said in its statement: “R. Kelly has close friendships with a number of women who are strong, independent, happy, well cared for and free to come and go as they please. We deny the many dark descriptions put forth by instigators and liars who have their own agenda for seeking profit and fame.” It adds that parents of Kelly’s girlfriends are choosing not to return their daughters’ phone calls, “because they are angling for a financial windfall.”\u003c/p>\n\u003cp>NPR also sought a response from Kelly’s management about a woman in Dallas who, last month in Texas, anonymously presented evidence to the Dallas County district attorney’s office, claiming that the singer knowingly gave her a sexually transmitted disease. Management responded, “We have been made aware of financial motivations — and a desire to renew a relationship — coming from the claims in Texas. We hope to be able to elaborate at some point.”\u003c/p>\n\u003cp>In addition, Kelly’s management team redistributed to NPR its controversial statement from earlier this week equating the Time’s Up open letter to a lynching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Andrew Flanagan contributed reporting.\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=Three+More+Women+Come+Forward+To+Accuse+R.+Kelly+Of+Abuse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cVwjapLBUnE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr_ZbxE1Q6E\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CAAMFest, the film festival hosted by the Center for Asian American Media, is broadening its offerings this year beyond films to include music and theater performances.\u003c/p>\n\u003cp>The opening night film is \u003ci>An American Story: Norman Mineta and His Story,\u003c/i> Dianne Fukami’s documentary about former Commerce and Transportation Secretary, Congressman and Mayor of San Jose. He’s a second generation Japanese American who I used to interview a lot; a man who was locked up with his family in an internment camp during World War II, but could also make you believe in the power of government to do good.\u003c/p>\n\u003cfigure id=\"attachment_13831026\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg\" alt=\"Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Secretary-and-former-Congressman-and-former-San-Jose-Mayor-is-the-subject-of-a-documentary-at-CAAM-Film-Fest--520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Secretary and former Congressman and former San Jose Mayor is the subject of a documentary at CAAM Film Fest \u003ccite>(Courtesy of CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the recent headlines about travel bans and discrimination, Fukami says her film couldn’t come at a better time. \u003c/p>\n\u003cp>“You know, this is a cautionary tale. As a Japanese American, I think we need to be living reminders of what can happen when civil liberties are violated,” Fukami says.\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/cVwjapLBUnE'\n title='//www.youtube.com/embed/cVwjapLBUnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asian action film star Pei-Pei Cheng is a featured guest at CAAMFest, and Pinay rapper Ruby Ibarra will get to talk about her directorial debut on the music video for her song \u003cem>Us\u003c/em>, which features a crowd-sourced, all-Pinay cast of 200. The festival will also host the world premiere of \u003cem>Bitter Melon\u003c/em>, a black comedy by H.P. Mendoza (\u003cem>Colma: the Musical\u003c/em>) that’s about homophobia, domestic violence, and toxic masculinity in a Filipino family, and was shot in the Bay Area.\u003c/p>\n\u003cp>There’s also a concert featuring Bay Area acts Lyrics Born and Dengue Fever at the Starline Social Club in Oakland.\u003c/p>\n\u003cp>The festival closes with \u003cem>Aunt Lily’s Flower Book\u003c/em>, a live performance by storyteller Brenda Wong Aoki and her husband Mark Izu, who plays the bass and the sho, a Japanese reed instrument. The play is about the impact on both their family’s of anti-Asian racism. I first did a story on Mark and Brenda more than 30 years ago, and they’re still making wonderful theater.\u003c/p>\n\u003cp>CAAMFest runs May 10 through May 24 at the Castro, the Kabuki, and other theaters around San Francisco. \u003ca href=\"https://caamfest.com/2018/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fr_ZbxE1Q6E'\n title='//www.youtube.com/embed/Fr_ZbxE1Q6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Philip Glass’s Piano Concerto #3 got its debut last year in Boston, and now the piece gets its West Coast premiere from the New Century Chamber Orchestra. The performance will feature pianist Simone Dinnerstein, whose known mostly for her interpretations of Bach’s masterworks. Glass wrote the concerto expressly for her.\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/TyU8t8lTAyo'\n title='//www.youtube.com/embed/TyU8t8lTAyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My co-host Gabe Meline and I are both delighted and amazed at how the 81-year-old Glass keeps turning out new compositions. Gabe notes that most people come to Philip Glass through his operas or his minimalist solo piano works, like \u003cem>The Metamorphosis 1-5\u003c/em>, or through dense film pieces like \u003cem>Koyaanisqatsi\u003c/em>. But his harmonic language keeps evolving in new, lovely directions. \u003c/p>\n\u003cp>The New Century Chamber Orchestra with pianist Simone Dinnerstein plays Philip Glass’ Piano Concerto No. 3, plus pieces by Bach, Purcell and more May 16-20, in Davis, Berkeley, Palo Alto, San Francisco and San Rafael. \u003ca href=\"https://www.ncco.org/concert-tickets/2017-2018-season/philipglasspremiere\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\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/ycIVwe4MsS4'\n title='//www.youtube.com/embed/ycIVwe4MsS4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marc Bamuthi Joseph, the Yerba Buena Center for the Art’s chief of pedagogy, says he was thinking recently about President John F. Kennedy’s call for the U.S. to send a man to the moon.\u003c/p>\n\u003cp>“Kennedy reminds us that the future is made of stumbles, hubris, and innovators who are humble enough to pursue it,” Joseph says.\u003c/p>\n\u003cp>Kennedy sparked the public imagination with the moonshot. And now Joseph and the YBCA have invited a group of artists for Transform Fest, a festival focused on the question, “where is our public imagination?”\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/MfYQkiVMncQ'\n title='//www.youtube.com/embed/MfYQkiVMncQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How does creativity and forethought show up in public space,” Joseph told me by phone. “In my mind, it’s scientists, artists, it’s folks that are looking towards where we might go if we put down our dogmatic swords and look to a cultural horizon.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival features a mix of the global and the local, including a musical tribute to funk pioneer Betty Davis, performed by poet Jessica Care Moore and her ensemble Black Women Rock!, with East Bay singer Zakiyah Harris joining in. San Francisco dance company Capacitor premieres a new piece. And my co-host Gabe Meline is also excited for another chance to see \u003cem>The Burden\u003c/em>, a terrific short film by Swedish director Niki Lindroth von Bahr. It’s the best representation of loneliness featuring singing fish heads you’ll ever find, and it’s part of a short film program on May 13.\u003c/p>\n\u003cfigure id=\"attachment_13830994\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830994\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg\" alt=\"Campo Santo featuring Britney Frazier, Delina Patrick Brooks\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-800x473.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-160x95.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-768x455.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1020x604.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1200x710.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1920x1136.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-1180x698.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-960x568.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-240x142.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-375x222.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169-520x308.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Campo-Santo-featuring-Britney-Frazier-Delina-Patrick-Brooks-e1525295507169.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Campo Santo featuring Britney Frazier, Delina Patrick Brooks \u003ccite>(Destiny Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transform is also hosting the San Francisco theater company Campo Santo and its new project from writer and director Roger Guenveur Smith. Their show \u003cem>Casa de Spirits\u003c/em> is about gentrification and liquor stores in the Tenderloin. Campo Santo is always tapping into the beauty and sometimes the weirdness of the public imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Transform Fest is at the Yerba Buena Center for the Arts in San Francisco from May 9 through May 20. \u003ca href=\"https://www.ybca.org/whats-on/transform-sp-2018\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \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=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jab’o Starks, the drummer who provided the steady beat for James Brown’s iconic mid-’60s band and who stayed with the King of Soul through the early ’70s, died at the age of 79 Tuesday morning at his home in Mobile, Ala. According to his manager, Kathie Williams, Starks was diagnosed with myelodysplastic syndromes, a bone marrow disorder, in January 2017, which developed into acute leukemia one week ago, after which he entered hospice care.\u003c/p>\n\u003cp>Starks, whose given name was John and whose nickname is sometimes spelled “Jabo,” joined James Brown’s band in 1965. He became the group’s fifth drummer just months before Clyde Stubblefield became its sixth. in August of that year. Starks and Stubblefield’s rhythmic partnership became the foundation of a lifelong friendship — “brothers,” as Starks \u003ca href=\"https://www.youtube.com/watch?v=5acs-zU0TVI\" target=\"_blank\" rel=\"noopener\">told\u003c/a> an interviewer in 2013. Stubblefield \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/02/18/515997890/clyde-stubblefield-james-browns-funky-drummer-dies-at-73\" target=\"_blank\" rel=\"noopener\">died in February 2017\u003c/a>. The pair played together for decades, most recently as Funkmasters.\u003c/p>\n\u003cp>Starks was raised in Mobile, where he taught himself the drums. “I used to go to the ‘holiness’ church when I was up in the country with my grandmother,” Starks observed in the James Brown biography \u003cem>The\u003c/em> \u003cem>One\u003c/em>\u003cstrong>,\u003c/strong>\u003cem> \u003c/em>by RJ Smith. “I went almost every Sunday because I loved to hear the rhythms they were using. That’s basically where a lot of it comes from for me. That sanctified rhythm influenced my playing.”\u003c/p>\n\u003cp>Starks was mentored on the kit by Cornelius “Tenoo” Coleman, who had played with Fats Domino, including drumming on Domino’s indelible hit “Ain’t That a Shame.” After that mentorship, Starks played in Alabama with some of biggest names in blues history, including Howlin’ Wolf\u003cstrong>, \u003c/strong>Big Mama Thornton and John Lee Hooker. In the late ’50s, he began backing the R&B/soul singer Bobbie “Blue” Bland. Starks later pointed out how large the shadow of James Brown loomed over artists, which was clear while he was touring with Bland. “If James Brown was in front of you, you could give it up,” he \u003ca href=\"http://openvault.wgbh.org/catalog/V_45B02C84BFAB43E4A3985596D1EB09E8\" target=\"_blank\" rel=\"noopener\">said\u003c/a> in a 1995 interview with WGBH. “You weren’t going to draw anybody. If he was coming behind you, you still didn’t draw anybody.”\u003c/p>\n\u003cp>Upon joining Brown’s band, Starks found a mentor again. This time it was Clayton Fillyau, a former drummer for Brown who was driving the tour bus at the time Starks joined. At bar sessions, Fillyau would show newcomers the ropes by tapping on the bar or their arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reason for the vast number of drummers in the band at the time Starks and Stubblefield joined was leverage, the two \u003ca href=\"https://www.npr.org/2015/01/05/374818384/the-original-funky-drummers-on-life-with-james-brown\" target=\"_blank\" rel=\"noopener\">told NPR’s \u003cem>Morning Edition\u003c/em>\u003c/a> in 2015. “The saying was, when Clayton Fillyau was the drummer with James, he had just one drummer, one guitar player, one bass player,” Starks said. “They was about to not play; they were rebelling against James for something … so he had to agree with them. And they said he made a statement after then: ‘I’ll never be caught without two of everything.\u003cstrong>‘”\u003c/strong>\u003c/p>\n\u003cp>After Stubblefield and Starks began playing with Brown, however, the drumming ranks began to dwindle, until there were two.\u003c/p>\n\u003cp>“We don’t get in each other’s way, we just groove with it,” Starks is quoted as saying in \u003cem>The One\u003c/em>. Starks “handled the blues, the standards, the set tunes,” Smith wrote, while Stubblefield would root the set’s longer jams. Despite that assertion, Stubblefield said of his counterpart: “Jabo is a \u003cem>groover\u003c/em>.”\u003c/p>\n\u003cp>That clockwork-steady groove is clear on songs that Starks was central to, like “Get on the Good Foot” and “The Payback,” which both became No. 1 hits for Brown in 1972 and 1974, respectively.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Asked whether Starks performed after his MDS diagnosis forced him to cancel shows early last year, manager Kathie Williams says\u003cem>,\u003c/em> “Of \u003cem>course\u003c/em> he did.” His final performance was in March at the Red Bar in Grayton Beach, Fla. \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=John+%27Jab%27o%27+Starks%2C+Classic+James+Brown+Drummer%2C+Dead+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Suzanimal, the Musician-Scientist Making Pop for Both Sides of the Brain",
"headTitle": "Meet Suzanimal, the Musician-Scientist Making Pop for Both Sides of the Brain | KQED",
"content": "\u003cp>Talking about music in scientific terms comes naturally to Suzanne Galal, the bandleader of the San Francisco psychedelic pop outfit Suzanimal. Galal, a doctor of pharmacy, is a professor at the University of the Pacific by day. When we meet for tea to chat about her new EP, \u003cem>Body\u003c/em>, she launches into a passionate discussion about a \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2014/11/20/365461587/musicians-brains-really-do-work-differently-in-a-good-way\" target=\"_blank\" rel=\"noopener\">video\u003c/a> she recently saw on NPR, about the brains of musicians.\u003c/p>\n\u003cp>“They looked at the brain when someone was playing an instrument, and it has more neuronal firings and connections than any other activity,” she says with a bright smile as her iridescent earrings catch the light. “There was a lot of firing on the right side of the brain \u003cem>and\u003c/em> on the left side of the brain, and they were able to connect the two.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/425876628″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Galal continues, referencing her pharmacy profession: “I feel that when we’re so focused on just one part of it — on the left side — in the sciences, we don’t have access to that other side of the brain. Maybe music could be a catalyst, and having experience and exposure to more creative learning would have a [positive] effect.”\u003c/p>\n\u003cp>As a professor, Galal teaches and conducts research on the science of learning, striving to inspire her students to use both sides of their brains — both for problem-solving and maintaining a human connection to their patients.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And as a die-hard music fan, there’s nothing Galal likes better than going out to a live show and immersing herself in the rhythm. Although she sang in choirs in high school, it wasn’t until her musician husband, drummer Andrew Laubacher of \u003ca href=\"https://www.kqed.org/arts/12521832/the-10-best-bay-area-albums-of-2016-con-brio-paradise\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a>, gave her a bass guitar that she seriously considered making music.\u003c/p>\n\u003cp>Galal started a practice band with a few friends who were also new to music-making and eventually played a few house shows. She then began connecting with more established musicians, including R&B singer \u003ca href=\"https://soundcloud.com/katiedaymusic\" target=\"_blank\" rel=\"noopener\">Katie Day\u003c/a> and indie rocker \u003ca href=\"https://theoldgreywhistletest.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tracey Holland\u003c/a> of the Old Grey Whistle Test (both are on the bill for Suzanimal’s \u003ca href=\"https://www.facebook.com/events/157586338401932/\" target=\"_blank\" rel=\"noopener\">EP release party\u003c/a> at El Rio on May 3).\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/425891163″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Spurred by her belief in the importance of creativity for brain functionality and emotional development, Galal proposed a sabbatical from her professorship to study music and its effects on learning. When her plan was approved, she packed her bags for Portugal, Bosnia and Croatia, spending four months creating multi-track music with her bass, voice and Ableton production software.\u003c/p>\n\u003cp>It sounds like a daunting undertaking, but for Galal, it all progressed according to plan.“I tend to be someone who, once I have it in my mind that I’m going to do something, I see the steps in how you get somewhere, and just try to knock them out,” she says.\u003c/p>\n\u003cp>To record \u003cem>Body\u003c/em>, Galal assembled a solid crew of Bay Area talent, including several members of Con Brio on guitar, drums and keys along with multi-instrumentalists and vocalists Kelly McFarling and Kendra McKinley. In rehearsal, Galal played her software-recorded tracks for the musicians and they translated the sounds to their flesh-and-blood instruments with an ease that Galal still marvels at.\u003c/p>\n\u003cp>“It was just, ‘This feels good, so let’s do this,'” she recalls.\u003c/p>\n\u003cfigure id=\"attachment_13830557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830557\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-800x778.jpg\" alt=\"Suzanne Galal's approach to music has a symbiotic relationship with her scientific research.\" width=\"800\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-375x365.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-520x506.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-50x50.jpg 50w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Galal’s approach to music has a symbiotic relationship with her scientific research. \u003ccite>(Emily Sevin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Body \u003c/em>— subtle, evocative and precise — swings with an attitude that’s breezy yet grounded. Galal’s voice is sweet but confident, with the barest whisper of PJ Harvey husk about it, blending seamlessly with the backing vocals of McFarling and McKinley. Throughout the project, the drumming provides uncomplicated, sturdy support for the more adventurous explorations of the keys and their attendant effects, as well as the funky counterpoint of Benjamin Andrews’s guitar. Each song is a study in maintaining a balance between minimalism and shimmering layers.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/425887782″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Galal favors deceptively simple lyrics over belabored metaphors. (One song, “Naps,” is literally about taking naps; “Train” is a single repeated line that builds to a wild crescendo of vocals and keys.)\u003c/p>\n\u003cp>The breezy, hip-hop-inspired “Ideas” seems especially resonant with Galal’s curiosity about the mind, painting a musical portrait of an artist in search of his or her next breakthrough: “Where do ideas come from? / Where do they live? / And will they answer when I’m knocking at the door?” Its lyrics speak to Galal’s unending exploration of how creativity works, as well as her belief that ideas are strongest when incorporating both sides of the brain.\u003c/p>\n\u003cp>“My research and music playing have a very symbiotic relationship,” she says. “I’m grateful to find this sweet spot in my career, and I want to see how they play into each other. If anything, I hope to encourage others to do the same. It’s never too late is what I’ve learned!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanimal performs with \u003ca href=\"http://katiedaymusic.com/\" target=\"_blank\" rel=\"noopener\">Katie Day\u003c/a> and \u003ca href=\"http://www.theogwt.com/\" target=\"_blank\" rel=\"noopener\">the Old Grey Whistle Test\u003c/a> on May 3 at El Rio. More info \u003ca href=\"https://www.facebook.com/events/157586338401932/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Talking about music in scientific terms comes naturally to Suzanne Galal, the bandleader of the San Francisco psychedelic pop outfit Suzanimal. Galal, a doctor of pharmacy, is a professor at the University of the Pacific by day. When we meet for tea to chat about her new EP, \u003cem>Body\u003c/em>, she launches into a passionate discussion about a \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2014/11/20/365461587/musicians-brains-really-do-work-differently-in-a-good-way\" target=\"_blank\" rel=\"noopener\">video\u003c/a> she recently saw on NPR, about the brains of musicians.\u003c/p>\n\u003cp>“They looked at the brain when someone was playing an instrument, and it has more neuronal firings and connections than any other activity,” she says with a bright smile as her iridescent earrings catch the light. “There was a lot of firing on the right side of the brain \u003cem>and\u003c/em> on the left side of the brain, and they were able to connect the two.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/425876628″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/425876628″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Galal continues, referencing her pharmacy profession: “I feel that when we’re so focused on just one part of it — on the left side — in the sciences, we don’t have access to that other side of the brain. Maybe music could be a catalyst, and having experience and exposure to more creative learning would have a [positive] effect.”\u003c/p>\n\u003cp>As a professor, Galal teaches and conducts research on the science of learning, striving to inspire her students to use both sides of their brains — both for problem-solving and maintaining a human connection to their patients.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as a die-hard music fan, there’s nothing Galal likes better than going out to a live show and immersing herself in the rhythm. Although she sang in choirs in high school, it wasn’t until her musician husband, drummer Andrew Laubacher of \u003ca href=\"https://www.kqed.org/arts/12521832/the-10-best-bay-area-albums-of-2016-con-brio-paradise\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a>, gave her a bass guitar that she seriously considered making music.\u003c/p>\n\u003cp>Galal started a practice band with a few friends who were also new to music-making and eventually played a few house shows. She then began connecting with more established musicians, including R&B singer \u003ca href=\"https://soundcloud.com/katiedaymusic\" target=\"_blank\" rel=\"noopener\">Katie Day\u003c/a> and indie rocker \u003ca href=\"https://theoldgreywhistletest.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tracey Holland\u003c/a> of the Old Grey Whistle Test (both are on the bill for Suzanimal’s \u003ca href=\"https://www.facebook.com/events/157586338401932/\" target=\"_blank\" rel=\"noopener\">EP release party\u003c/a> at El Rio on May 3).\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/425891163″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/425891163″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Spurred by her belief in the importance of creativity for brain functionality and emotional development, Galal proposed a sabbatical from her professorship to study music and its effects on learning. When her plan was approved, she packed her bags for Portugal, Bosnia and Croatia, spending four months creating multi-track music with her bass, voice and Ableton production software.\u003c/p>\n\u003cp>It sounds like a daunting undertaking, but for Galal, it all progressed according to plan.“I tend to be someone who, once I have it in my mind that I’m going to do something, I see the steps in how you get somewhere, and just try to knock them out,” she says.\u003c/p>\n\u003cp>To record \u003cem>Body\u003c/em>, Galal assembled a solid crew of Bay Area talent, including several members of Con Brio on guitar, drums and keys along with multi-instrumentalists and vocalists Kelly McFarling and Kendra McKinley. In rehearsal, Galal played her software-recorded tracks for the musicians and they translated the sounds to their flesh-and-blood instruments with an ease that Galal still marvels at.\u003c/p>\n\u003cp>“It was just, ‘This feels good, so let’s do this,'” she recalls.\u003c/p>\n\u003cfigure id=\"attachment_13830557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830557\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-800x778.jpg\" alt=\"Suzanne Galal's approach to music has a symbiotic relationship with her scientific research.\" width=\"800\" height=\"778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-768x747.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-375x365.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-520x506.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Me-snaps.-Emily-Sevin-50x50.jpg 50w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Galal’s approach to music has a symbiotic relationship with her scientific research. \u003ccite>(Emily Sevin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Body \u003c/em>— subtle, evocative and precise — swings with an attitude that’s breezy yet grounded. Galal’s voice is sweet but confident, with the barest whisper of PJ Harvey husk about it, blending seamlessly with the backing vocals of McFarling and McKinley. Throughout the project, the drumming provides uncomplicated, sturdy support for the more adventurous explorations of the keys and their attendant effects, as well as the funky counterpoint of Benjamin Andrews’s guitar. Each song is a study in maintaining a balance between minimalism and shimmering layers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/425887782″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/425887782″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Galal favors deceptively simple lyrics over belabored metaphors. (One song, “Naps,” is literally about taking naps; “Train” is a single repeated line that builds to a wild crescendo of vocals and keys.)\u003c/p>\n\u003cp>The breezy, hip-hop-inspired “Ideas” seems especially resonant with Galal’s curiosity about the mind, painting a musical portrait of an artist in search of his or her next breakthrough: “Where do ideas come from? / Where do they live? / And will they answer when I’m knocking at the door?” Its lyrics speak to Galal’s unending exploration of how creativity works, as well as her belief that ideas are strongest when incorporating both sides of the brain.\u003c/p>\n\u003cp>“My research and music playing have a very symbiotic relationship,” she says. “I’m grateful to find this sweet spot in my career, and I want to see how they play into each other. If anything, I hope to encourage others to do the same. It’s never too late is what I’ve learned!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanimal performs with \u003ca href=\"http://katiedaymusic.com/\" target=\"_blank\" rel=\"noopener\">Katie Day\u003c/a> and \u003ca href=\"http://www.theogwt.com/\" target=\"_blank\" rel=\"noopener\">the Old Grey Whistle Test\u003c/a> on May 3 at El Rio. More info \u003ca href=\"https://www.facebook.com/events/157586338401932/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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