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"content": "\u003cp>One of my most memorable music festival experiences was the day I saw the rambunctious Spanish multi-instrumentalist \u003ca href=\"https://ww2.kqed.org/arts/2018/05/01/can-you-even-call-yourself-american-if-youve-never-seen-saved-by-the-bell/\" target=\"_blank\" rel=\"noopener\">Carlos Núñez\u003c/a> rock out on the gaita at the \u003ca href=\"http://www.scottishgames.org/\" target=\"_blank\" rel=\"noopener\">Colorado Scottish Festival\u003c/a> near Denver. What’s a gaita, you ask? It’s a set of traditional Galician bagpipes. The way Núñez plays them, they make you want to dance till you drop.\u003c/p>\n\u003cp>The musician appears this Thursday alongside one of the world’s most prolific early music aficionados, viola da gamba player \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a>. Savall comes to the Bay Area often, but this week marks his debut at the august \u003ca href=\"https://sfperformances.org/performances/1718/JordiSavall.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> concert series.\u003c/p>\n\u003cp>Savall and Núñez, together with an array of talented wind, harp and bodhran players, present a program of works that trace the journey of Celtic people from Ireland to the Iberian Peninsula, from whence Núñez — and the gaita — hail.\u003c/p>\n\u003cp>Jordi Savall and Carlos Nunez play Thursday, May 3, at Herbst Theatre in San Francisco. Information \u003ca href=\"https://sfperformances.org/performances/1718/JordiSavall.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my most memorable music festival experiences was the day I saw the rambunctious Spanish multi-instrumentalist \u003ca href=\"https://ww2.kqed.org/arts/2018/05/01/can-you-even-call-yourself-american-if-youve-never-seen-saved-by-the-bell/\" target=\"_blank\" rel=\"noopener\">Carlos Núñez\u003c/a> rock out on the gaita at the \u003ca href=\"http://www.scottishgames.org/\" target=\"_blank\" rel=\"noopener\">Colorado Scottish Festival\u003c/a> near Denver. What’s a gaita, you ask? It’s a set of traditional Galician bagpipes. The way Núñez plays them, they make you want to dance till you drop.\u003c/p>\n\u003cp>The musician appears this Thursday alongside one of the world’s most prolific early music aficionados, viola da gamba player \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a>. Savall comes to the Bay Area often, but this week marks his debut at the august \u003ca href=\"https://sfperformances.org/performances/1718/JordiSavall.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> concert series.\u003c/p>\n\u003cp>Savall and Núñez, together with an array of talented wind, harp and bodhran players, present a program of works that trace the journey of Celtic people from Ireland to the Iberian Peninsula, from whence Núñez — and the gaita — hail.\u003c/p>\n\u003cp>Jordi Savall and Carlos Nunez play Thursday, May 3, at Herbst Theatre in San Francisco. Information \u003ca href=\"https://sfperformances.org/performances/1718/JordiSavall.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kush Arora Chats Mutek and Evolution of Bay Area Electronic Scene",
"headTitle": "Kush Arora Chats Mutek and Evolution of Bay Area Electronic Scene | KQED",
"content": "\u003cp>Gusts of wind billow our jackets on a recent Thursday afternoon as I follow Kush Arora, who expertly navigates a maze of office workers in lines at tech-optimized cafes in San Francisco’s financial district. SoMa, the neighborhood just south of where we settle for salads, was once a stronghold of San Francisco’s ’90s rave scene — which Arora became enamored with as a middle schooler through online forums.\u003c/p>\n\u003cp>Nowadays, Arora works in distribution at Empire, the San Francisco rap label, while pursuing two distinct solo music projects: as \u003ca href=\"https://kusharora.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Kush Arora\u003c/a>, he produces dark, experimental dancehall beats for underground artists like Metric Man and Swappi. And as his other moniker, \u003ca href=\"https://infinitemachine.bandcamp.com/album/im057-only-now-timeslave-ep\" target=\"_blank\" rel=\"noopener\">Only Now\u003c/a> — performing at the second day of the \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2018/schedule#day-2018-04-30\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a> festival at the Mezzanine on May 4 — Arora makes a jagged, haunting melange of international club sounds as disparate as industrial techno and kuduro.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/344775666″ 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>Mutek puts local underground artists like Only Now on lineups alongside internationally-recognized heavy-hitters like sound designer Tim Hecker, Detroit techno pioneers Aux 88, and dub techno producer Moritz von Oswald. The long-running festival has had previous incarnations in Montreal, Mexico City, Barcelona, and many other global cities. This week, it makes its San Francisco debut on May 3, taking place at San Francisco Mint, the Midway, the Bimbo’s 365 Club, and various other venues through May 6.\u003c/p>\n\u003cp>Below, Arora chats about how electronic music has evolved in San Francisco since his early days of sneaking out to raves and what we can look forward to at Mutek.\u003c/p>\n\u003cfigure id=\"attachment_13830784\" class=\"wp-caption alignright\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS.jpg\" alt=\"\" width=\"758\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-520x779.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Kush Arora. \u003ccite>(Xhjyl Gossett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To start out, would you mind telling me about Only Now and some of the work that you’ve produced and been involved with?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Absolutely. Only Now is a project that started in 2012, ’13, for me, originally, as a solo project that was focused on any type of esoteric type of sounds, away from the music that I was doing at the time. Part of it is rooted in that experimentalism, new wave, industrial, classic schools of electronic music. The other half of it was based on kuduro, Afro-house, grime, all these niche micro-movements that are happening that I was a huge fan of, and participating, doing remixes with, collaborating. It’s like modern industrial music, but with a sense of being informed on a global level.\u003c/p>\n\u003cp>\u003cstrong>You’re also really involved in the dancehall world, and it seems like you collaborate with a lot of international artists.\u003c/strong>\u003c/p>\n\u003cp>Yeah, absolutely. And then I’m here at my day job [at Empire], doing stuff with rappers. [With Only Now,] I wanted to find a place where I could just be only myself. The first record involved a lot of actual drummers from around the Bay Area. I made a drum library with some really interesting key players from the scene to build source material from, and that was a very good, inspirational starting point for me. But then slowly I shed that, and just got more and more into my own element.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat were some of your first experiences in the local electronic scene?\u003c/strong>\u003c/p>\n\u003cp>Let’s take it back to 1996 or ’97. I got into electronic music probably really early: fourth, fifth, sixth grade, through college radio and just being bored, and being a single child in the ‘burbs. I grew up a metalhead, but then quickly learned about Godflesh, Skinny Puppy, those types of bands, and then just tried to find, where was that in the Bay Area?\u003c/p>\n\u003cp>That time in the Bay was really, really special. There was Bay Area Music Magazine, and it would list all the shows that were happening in venues around town, and they also listed a bunch of music sites. There was a site called the Cyberden, which was an industrial/ambient/gothic forum. All the local bands at the time were on that, and you could chat with people.\u003c/p>\n\u003cp>I started a little webzine in sixth grade. I would get promos from all the labels, and there was a lot of international labels. All these people would be sending me things, thinking I was an adult.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/298509883″ 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>Simultaneously, the rave scene was at a pinnacle in the Bay. I would actually sneak out of my house in high school, get somebody off of a rave forum to pick me and a few friends up, and we’d come to raves in the city, and in Oakland — at Homebase and wherever. Then there would be day raves, where Wicked, or Solar — another Mutek guy — and Galen and DRC would play.\u003c/p>\n\u003cp>\u003cstrong>I’ve heard that in the late ’90s in SoMa there were a lot of warehouses where raves would take place. I’m curious how you’ve seen the scene change shape over the years.\u003c/strong>\u003c/p>\n\u003cp>That’s a really complicated question. I’ve had my hands in so many different scenes simultaneously, and I’m never focused on really being too involved in one scene. I’m mostly focused on creation. So coming from an outsider’s point of view on all of them, I think the prime difference is the commercial input in the music scene. Before it was warehouse parties. Gay and queer events. Straight up raves. Straight up installation type things. Now, with your Red Bull, the Boiler Room, all the brands. When I was growing up, that would’ve been blasphemy in a lot of circles to jump onboard with corporate sponsors.\u003c/p>\n\u003cp>\u003cstrong>Interesting. Because, yeah, I think the electronic scene went from being associated with ravers and freaks, and this really free-spirited underground scene, to a more corporatized version of that through Burning Man appealing so heavily to tech people.\u003c/strong>\u003c/p>\n\u003cp>Burning Man used to be cool when we were in high school. Survival Research Laboratories was a big influence to me, and that was a very big part of Burning Man early on. That was people building machines under the Division Street freeway, making crazy robots with fire and stuff. Music was all over the place but wasn’t really the focal point. I’m not going to say Burning Man is a horrible thing, it just seems kind of lame and dinky to me for the last 10 years.\u003c/p>\n\u003cp>https://youtu.be/PDERqyqhupA\u003c/p>\n\u003cp>\u003cstrong>One of the parties that has really reinvigorated my interest in electronic music has been Club Chai. Its founders [8ulentina and Foozool] are on the Mutek lineup as well. I think that what they do is super cool because they embrace so many eclectic sounds. How they prioritize artists of different immigrant diasporas has really opened the space up for a lot more people to get involved in the electronic scene.\u003c/strong>\u003c/p>\n\u003cp>I feel like that’s true. Our party, Surya Dub, did that, but there was nobody in the crew who wasn’t just a regular dude. There was one lady in the party. They brought a whole different group of people, because we had a totally different group of friends. We always booked people from — we had Bhangra and dancehall and whatever upstairs, and the we had whatever was cutting edge downstairs.\u003c/p>\n\u003cp>I feel like that’s inherently in the Bay Area spirit. That never left. I think that’s actually the best thing about the Bay Area. I definitely think Club Chai is probably the most visible at the moment of doing that, partially because that’s actually who they are — as opposed to somebody like me, who’s a random just regular-ass dude saying, “I include everybody,” but I don’t actually have that many friends in the gay community. You know what I mean? There’s a real difference from being within, whereas we have a huge South Asian base because we’re Indian.\u003c/p>\n\u003cp>I think all those pieces of the puzzle and the fact that we all talk to each other and we’re all super aware of what we’re doing is incredibly important. I think that’s what defines Bay Area club culture.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/328046885″ 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>\u003cstrong>Yeah, it definitely feels like the scene is starting to bubble up again and get more recognition and legitimacy just from the national and international music community. Which brings me to: do you think Mutek coming here will lend more of a legitimacy to the San Francisco and Bay Area scene in the eyes of people from bigger cities known for electronic music like Berlin or Mexico City?\u003c/strong>\u003c/p>\n\u003cp>It does. I know it does, because I’ve had those conversations the moment that I announced that I was part of it. It’s been a long time bubbling, and the Bay Area has a huge root that I think this is worth mentioning: Mills College. Don Buchla, [creator of the Buchla synthesizer]. Mills College had the first Moog on the West Coast. Wendy Carlos did stuff there.\u003cbr>\n\u003cstrong>\u003cbr>\nYeah. Pauline Oliveros, Maggi Payne.\u003c/strong>\u003c/p>\n\u003cp>There is a huge, real root of Bay Area being absolutely essential on a worldwide level to electronic music. Then there’s a lot of the manufacturing side of it, like down in North Beach is Dave Smith Instruments, whom I work with. There’s people making synthesizers and electronic pieces here, and then there’s people making software for it out here. The first pitch/time shifting software was made in Pacifica.\u003c/p>\n\u003cp>To have [Mutek] be an international entity that comes in and legitimizes it on a global scale, and bring the artists that don’t come to the Bay Area unless they’re just playing one-off shows is super important because people ask all the time, “What is going on in San Francisco? You guys have no events. All the festivals are some hippie-dippy bullshit.” It’s like listening to breakbeats for like five days on end. It just seems like nobody cares. The whole world has ignored the Bay Area despite its incredible output.\u003c/p>\n\u003cp>All the local artists playing, most of them I know. I’ve known Secret Sidewalk guys since college. There’s a lot of names on there that I didn’t know about, so I’m actually pretty stoked that I’m going to meet people that are local who are probably doing way cooler things than I ever knew about.\u003c/p>\n\u003cp>https://youtu.be/7Wc6BYrPUzY\u003c/p>\n\u003cp>To have the international legitimacy of bringing in artists like [dub techno producer] Moritz von Oswald of Rhythm & Sound, [Detroit techno pioneers] Aux 88. Aux 88 — I bought my first vinyl from them in sixth grade on 8th Street by accident. I thought it was actually a different band. Now I’m a huge fan of theirs, and they’re going to play at Mezzanine on Saturday.\u003c/p>\n\u003cp>\u003cstrong>Who else are you excited to see at Mutek?\u003c/strong>\u003c/p>\n\u003cp>Locally, I would say I’m most excited to see Secret Sidewalk, on the band side. On the experimental, local side, I would say Article Collection, which is a dude who works at Dolby who’s been throwing some cool undergrounds, too, and works with RS940109, the record store in the Tenderloin — I totally should’ve mentioned them. They’re really trying hard to revitalize San Francisco. They’re having black metal shows, and they’ll have house music the next night at their store. They supported my work, and pretty much all these guys’ work. They’re the only ones who’ve actually made a new shop in the last five years, that pushes the boundaries.\u003c/p>\n\u003cp>https://youtu.be/25BUJGvRyuY\u003c/p>\n\u003cp>Internationally, them or [experimental dancehall duo] Equiknoxx. Equiknoxx are the guys I’ve been talking to for a long time out of Jamaica, and I’m really curious as to what their group will be like. I think they’re going to be the most different than everything else. I think they’re going to stand out as basically a wacky dancehall band in the middle of Mutek, and I think they booked us both together because we both do that type of stuff.\u003cbr>\n\u003cstrong>\u003cbr>\nI think that was everything I wanted to ask you, but any last words?\u003c/strong>\u003c/p>\n\u003cp>First and foremost, Only Now has a project coming out with Orogen, which is another Oakland-based artist, Lucas Patzek. It’s a tape and a digital product that’s coming out of Lisbon, out of Discrepant, which is a very interesting, very on-the-fringe label. It’s tribal music that has been processed through resonant processing and physical modeling synthesis into ambient music. Super trippy, very odd, kind of mind-melting type music.\u003c/p>\n\u003cp>Then I worked with local band Abstracter, which is a crazy black metal doom sludge group out of Oakland whose owner, Mattia, runs Sentient Ruin, which is my favorite metal label in the country right now, and has releases from all over the world. Me and the band Sutekh Hexen, who’s a pretty cult ambient dude, we both did soundscapes and intros and outros for their upcoming vinyl. That drops June 8.\u003c/p>\n\u003cp>Then an Only Now full-length 12″ coming off \u003ca href=\"https://www.facebook.com/Discrepantrecords/\" target=\"_blank\" rel=\"noopener\">Discrepant\u003c/a> late this year as well. Then another Only Now release next month that will be coming out through my label, that will be on Bandcamp and Soundcloud.\u003c/p>\n\u003cp>Then, on the Kush Arora side, three more rhythm series. I have a rhythm series with artists from Lagos, from Nigeria, Jamaica, and Trinidad. I just released one which had that, and then I have another one which is Tifa from Jamaica, Young Alpha who writes for Burna Boy and Wizkid, and Lagos, and then Sadiki, who’s this mortician dude who lives in Trinidad.\u003cbr>\n\u003cstrong>\u003cbr>\nLike a real mortician?\u003c/strong>\u003c/p>\n\u003cp>Yeah. Oakland bass lines, Afro beats, and dancehall — a world-wide rhythm series.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mutek takes place May 3 – 6 at various venues in San Francisco. More info and tickets \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2018/schedule#day-2018-04-30\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The veteran producer gives us the scoop on what to look forward to at the electronic music fest coming to San Francisco May 3-6. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gusts of wind billow our jackets on a recent Thursday afternoon as I follow Kush Arora, who expertly navigates a maze of office workers in lines at tech-optimized cafes in San Francisco’s financial district. SoMa, the neighborhood just south of where we settle for salads, was once a stronghold of San Francisco’s ’90s rave scene — which Arora became enamored with as a middle schooler through online forums.\u003c/p>\n\u003cp>Nowadays, Arora works in distribution at Empire, the San Francisco rap label, while pursuing two distinct solo music projects: as \u003ca href=\"https://kusharora.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Kush Arora\u003c/a>, he produces dark, experimental dancehall beats for underground artists like Metric Man and Swappi. And as his other moniker, \u003ca href=\"https://infinitemachine.bandcamp.com/album/im057-only-now-timeslave-ep\" target=\"_blank\" rel=\"noopener\">Only Now\u003c/a> — performing at the second day of the \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2018/schedule#day-2018-04-30\" target=\"_blank\" rel=\"noopener\">Mutek\u003c/a> festival at the Mezzanine on May 4 — Arora makes a jagged, haunting melange of international club sounds as disparate as industrial techno and kuduro.\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/344775666″&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/344775666″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Mutek puts local underground artists like Only Now on lineups alongside internationally-recognized heavy-hitters like sound designer Tim Hecker, Detroit techno pioneers Aux 88, and dub techno producer Moritz von Oswald. The long-running festival has had previous incarnations in Montreal, Mexico City, Barcelona, and many other global cities. This week, it makes its San Francisco debut on May 3, taking place at San Francisco Mint, the Midway, the Bimbo’s 365 Club, and various other venues through May 6.\u003c/p>\n\u003cp>Below, Arora chats about how electronic music has evolved in San Francisco since his early days of sneaking out to raves and what we can look forward to at Mutek.\u003c/p>\n\u003cfigure id=\"attachment_13830784\" class=\"wp-caption alignright\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS.jpg\" alt=\"\" width=\"758\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-520x779.jpg 520w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">Kush Arora. \u003ccite>(Xhjyl Gossett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>To start out, would you mind telling me about Only Now and some of the work that you’ve produced and been involved with?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Absolutely. Only Now is a project that started in 2012, ’13, for me, originally, as a solo project that was focused on any type of esoteric type of sounds, away from the music that I was doing at the time. Part of it is rooted in that experimentalism, new wave, industrial, classic schools of electronic music. The other half of it was based on kuduro, Afro-house, grime, all these niche micro-movements that are happening that I was a huge fan of, and participating, doing remixes with, collaborating. It’s like modern industrial music, but with a sense of being informed on a global level.\u003c/p>\n\u003cp>\u003cstrong>You’re also really involved in the dancehall world, and it seems like you collaborate with a lot of international artists.\u003c/strong>\u003c/p>\n\u003cp>Yeah, absolutely. And then I’m here at my day job [at Empire], doing stuff with rappers. [With Only Now,] I wanted to find a place where I could just be only myself. The first record involved a lot of actual drummers from around the Bay Area. I made a drum library with some really interesting key players from the scene to build source material from, and that was a very good, inspirational starting point for me. But then slowly I shed that, and just got more and more into my own element.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat were some of your first experiences in the local electronic scene?\u003c/strong>\u003c/p>\n\u003cp>Let’s take it back to 1996 or ’97. I got into electronic music probably really early: fourth, fifth, sixth grade, through college radio and just being bored, and being a single child in the ‘burbs. I grew up a metalhead, but then quickly learned about Godflesh, Skinny Puppy, those types of bands, and then just tried to find, where was that in the Bay Area?\u003c/p>\n\u003cp>That time in the Bay was really, really special. There was Bay Area Music Magazine, and it would list all the shows that were happening in venues around town, and they also listed a bunch of music sites. There was a site called the Cyberden, which was an industrial/ambient/gothic forum. All the local bands at the time were on that, and you could chat with people.\u003c/p>\n\u003cp>I started a little webzine in sixth grade. I would get promos from all the labels, and there was a lot of international labels. All these people would be sending me things, thinking I was an adult.\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/298509883″&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/298509883″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Simultaneously, the rave scene was at a pinnacle in the Bay. I would actually sneak out of my house in high school, get somebody off of a rave forum to pick me and a few friends up, and we’d come to raves in the city, and in Oakland — at Homebase and wherever. Then there would be day raves, where Wicked, or Solar — another Mutek guy — and Galen and DRC would play.\u003c/p>\n\u003cp>\u003cstrong>I’ve heard that in the late ’90s in SoMa there were a lot of warehouses where raves would take place. I’m curious how you’ve seen the scene change shape over the years.\u003c/strong>\u003c/p>\n\u003cp>That’s a really complicated question. I’ve had my hands in so many different scenes simultaneously, and I’m never focused on really being too involved in one scene. I’m mostly focused on creation. So coming from an outsider’s point of view on all of them, I think the prime difference is the commercial input in the music scene. Before it was warehouse parties. Gay and queer events. Straight up raves. Straight up installation type things. Now, with your Red Bull, the Boiler Room, all the brands. When I was growing up, that would’ve been blasphemy in a lot of circles to jump onboard with corporate sponsors.\u003c/p>\n\u003cp>\u003cstrong>Interesting. Because, yeah, I think the electronic scene went from being associated with ravers and freaks, and this really free-spirited underground scene, to a more corporatized version of that through Burning Man appealing so heavily to tech people.\u003c/strong>\u003c/p>\n\u003cp>Burning Man used to be cool when we were in high school. Survival Research Laboratories was a big influence to me, and that was a very big part of Burning Man early on. That was people building machines under the Division Street freeway, making crazy robots with fire and stuff. Music was all over the place but wasn’t really the focal point. I’m not going to say Burning Man is a horrible thing, it just seems kind of lame and dinky to me for the last 10 years.\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/PDERqyqhupA'\n title='//www.youtube.com/embed/PDERqyqhupA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>One of the parties that has really reinvigorated my interest in electronic music has been Club Chai. Its founders [8ulentina and Foozool] are on the Mutek lineup as well. I think that what they do is super cool because they embrace so many eclectic sounds. How they prioritize artists of different immigrant diasporas has really opened the space up for a lot more people to get involved in the electronic scene.\u003c/strong>\u003c/p>\n\u003cp>I feel like that’s true. Our party, Surya Dub, did that, but there was nobody in the crew who wasn’t just a regular dude. There was one lady in the party. They brought a whole different group of people, because we had a totally different group of friends. We always booked people from — we had Bhangra and dancehall and whatever upstairs, and the we had whatever was cutting edge downstairs.\u003c/p>\n\u003cp>I feel like that’s inherently in the Bay Area spirit. That never left. I think that’s actually the best thing about the Bay Area. I definitely think Club Chai is probably the most visible at the moment of doing that, partially because that’s actually who they are — as opposed to somebody like me, who’s a random just regular-ass dude saying, “I include everybody,” but I don’t actually have that many friends in the gay community. You know what I mean? There’s a real difference from being within, whereas we have a huge South Asian base because we’re Indian.\u003c/p>\n\u003cp>I think all those pieces of the puzzle and the fact that we all talk to each other and we’re all super aware of what we’re doing is incredibly important. I think that’s what defines Bay Area club culture.\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/328046885″&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/328046885″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Yeah, it definitely feels like the scene is starting to bubble up again and get more recognition and legitimacy just from the national and international music community. Which brings me to: do you think Mutek coming here will lend more of a legitimacy to the San Francisco and Bay Area scene in the eyes of people from bigger cities known for electronic music like Berlin or Mexico City?\u003c/strong>\u003c/p>\n\u003cp>It does. I know it does, because I’ve had those conversations the moment that I announced that I was part of it. It’s been a long time bubbling, and the Bay Area has a huge root that I think this is worth mentioning: Mills College. Don Buchla, [creator of the Buchla synthesizer]. Mills College had the first Moog on the West Coast. Wendy Carlos did stuff there.\u003cbr>\n\u003cstrong>\u003cbr>\nYeah. Pauline Oliveros, Maggi Payne.\u003c/strong>\u003c/p>\n\u003cp>There is a huge, real root of Bay Area being absolutely essential on a worldwide level to electronic music. Then there’s a lot of the manufacturing side of it, like down in North Beach is Dave Smith Instruments, whom I work with. There’s people making synthesizers and electronic pieces here, and then there’s people making software for it out here. The first pitch/time shifting software was made in Pacifica.\u003c/p>\n\u003cp>To have [Mutek] be an international entity that comes in and legitimizes it on a global scale, and bring the artists that don’t come to the Bay Area unless they’re just playing one-off shows is super important because people ask all the time, “What is going on in San Francisco? You guys have no events. All the festivals are some hippie-dippy bullshit.” It’s like listening to breakbeats for like five days on end. It just seems like nobody cares. The whole world has ignored the Bay Area despite its incredible output.\u003c/p>\n\u003cp>All the local artists playing, most of them I know. I’ve known Secret Sidewalk guys since college. There’s a lot of names on there that I didn’t know about, so I’m actually pretty stoked that I’m going to meet people that are local who are probably doing way cooler things than I ever knew about.\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/7Wc6BYrPUzY'\n title='//www.youtube.com/embed/7Wc6BYrPUzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To have the international legitimacy of bringing in artists like [dub techno producer] Moritz von Oswald of Rhythm & Sound, [Detroit techno pioneers] Aux 88. Aux 88 — I bought my first vinyl from them in sixth grade on 8th Street by accident. I thought it was actually a different band. Now I’m a huge fan of theirs, and they’re going to play at Mezzanine on Saturday.\u003c/p>\n\u003cp>\u003cstrong>Who else are you excited to see at Mutek?\u003c/strong>\u003c/p>\n\u003cp>Locally, I would say I’m most excited to see Secret Sidewalk, on the band side. On the experimental, local side, I would say Article Collection, which is a dude who works at Dolby who’s been throwing some cool undergrounds, too, and works with RS940109, the record store in the Tenderloin — I totally should’ve mentioned them. They’re really trying hard to revitalize San Francisco. They’re having black metal shows, and they’ll have house music the next night at their store. They supported my work, and pretty much all these guys’ work. They’re the only ones who’ve actually made a new shop in the last five years, that pushes the boundaries.\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/25BUJGvRyuY'\n title='//www.youtube.com/embed/25BUJGvRyuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Internationally, them or [experimental dancehall duo] Equiknoxx. Equiknoxx are the guys I’ve been talking to for a long time out of Jamaica, and I’m really curious as to what their group will be like. I think they’re going to be the most different than everything else. I think they’re going to stand out as basically a wacky dancehall band in the middle of Mutek, and I think they booked us both together because we both do that type of stuff.\u003cbr>\n\u003cstrong>\u003cbr>\nI think that was everything I wanted to ask you, but any last words?\u003c/strong>\u003c/p>\n\u003cp>First and foremost, Only Now has a project coming out with Orogen, which is another Oakland-based artist, Lucas Patzek. It’s a tape and a digital product that’s coming out of Lisbon, out of Discrepant, which is a very interesting, very on-the-fringe label. It’s tribal music that has been processed through resonant processing and physical modeling synthesis into ambient music. Super trippy, very odd, kind of mind-melting type music.\u003c/p>\n\u003cp>Then I worked with local band Abstracter, which is a crazy black metal doom sludge group out of Oakland whose owner, Mattia, runs Sentient Ruin, which is my favorite metal label in the country right now, and has releases from all over the world. Me and the band Sutekh Hexen, who’s a pretty cult ambient dude, we both did soundscapes and intros and outros for their upcoming vinyl. That drops June 8.\u003c/p>\n\u003cp>Then an Only Now full-length 12″ coming off \u003ca href=\"https://www.facebook.com/Discrepantrecords/\" target=\"_blank\" rel=\"noopener\">Discrepant\u003c/a> late this year as well. Then another Only Now release next month that will be coming out through my label, that will be on Bandcamp and Soundcloud.\u003c/p>\n\u003cp>Then, on the Kush Arora side, three more rhythm series. I have a rhythm series with artists from Lagos, from Nigeria, Jamaica, and Trinidad. I just released one which had that, and then I have another one which is Tifa from Jamaica, Young Alpha who writes for Burna Boy and Wizkid, and Lagos, and then Sadiki, who’s this mortician dude who lives in Trinidad.\u003cbr>\n\u003cstrong>\u003cbr>\nLike a real mortician?\u003c/strong>\u003c/p>\n\u003cp>Yeah. Oakland bass lines, Afro beats, and dancehall — a world-wide rhythm series.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mutek takes place May 3 – 6 at various venues in San Francisco. More info and tickets \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2018/schedule#day-2018-04-30\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stern Grove 2018 Announced: Ziggy Marley, Thao and the Get Down Stay Down and More",
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"content": "\u003cp>Stern Grove, the free outdoor concert series, returns to San Francisco with a diverse lineup of international and inter-generational artists, kicking off on June 17 with two classic R&B vocalists: Peabo Bryson and Jeffrey Osborne.\u003c/p>\n\u003cp>The shows continue every Sunday at 2pm through Aug. 19 at 19th Avenue and Sloat Boulevard in San Francisco. Other acts to look forward to include Ziggy Marley, Afrobeat scion Femi Kuti, indie rockers Thao and the Get Down Stay Down and Rock & Roll Hall of Famers Ronnie Spector and the Ronettes.\u003c/p>\n\u003cp>Check out the full lineup below.\u003c/p>\n\u003cp>June 17 – \u003cstrong>Peabo Bryson\u003c/strong> and Jeffrey Osborne\u003c/p>\n\u003cp>June 24 – \u003cstrong>Ziggy Marley\u003c/strong> and Flavia Coelho\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>July 1 – \u003cstrong>M. Ward\u003c/strong> and Thao and the Get Down Stay Down\u003c/p>\n\u003cp>July 8 – \u003cstrong>Mexican Institute of Sound\u003c/strong> with special guests and Ginkgoa\u003c/p>\n\u003cp>July 15 – \u003cstrong>Anoushka Shankar\u003c/strong>, Land of Gold and Han Han\u003c/p>\n\u003cp>July 22 – \u003cstrong>San Francisco Symphony\u003c/strong>\u003c/p>\n\u003cp>July 29 – \u003cstrong>San Francisco Ballet\u003c/strong> with artistic director Helgi Tomasson\u003c/p>\n\u003cp>August 5 – \u003cstrong>Femi Kuti and the Positive Force\u003c/strong> and Sol Development\u003c/p>\n\u003cp>August 12 – \u003cstrong>Ronnie Spector and the Ronettes\u003c/strong> and the Humidors\u003c/p>\n\u003cp>August 19 – \u003cstrong>The Revolution\u003c/strong> and Big Blu Soul Revue\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>For more information about Stern Grove, click \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stern Grove, the free outdoor concert series, returns to San Francisco with a diverse lineup of international and inter-generational artists, kicking off on June 17 with two classic R&B vocalists: Peabo Bryson and Jeffrey Osborne.\u003c/p>\n\u003cp>The shows continue every Sunday at 2pm through Aug. 19 at 19th Avenue and Sloat Boulevard in San Francisco. Other acts to look forward to include Ziggy Marley, Afrobeat scion Femi Kuti, indie rockers Thao and the Get Down Stay Down and Rock & Roll Hall of Famers Ronnie Spector and the Ronettes.\u003c/p>\n\u003cp>Check out the full lineup below.\u003c/p>\n\u003cp>June 17 – \u003cstrong>Peabo Bryson\u003c/strong> and Jeffrey Osborne\u003c/p>\n\u003cp>June 24 – \u003cstrong>Ziggy Marley\u003c/strong> and Flavia Coelho\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>July 1 – \u003cstrong>M. Ward\u003c/strong> and Thao and the Get Down Stay Down\u003c/p>\n\u003cp>July 8 – \u003cstrong>Mexican Institute of Sound\u003c/strong> with special guests and Ginkgoa\u003c/p>\n\u003cp>July 15 – \u003cstrong>Anoushka Shankar\u003c/strong>, Land of Gold and Han Han\u003c/p>\n\u003cp>July 22 – \u003cstrong>San Francisco Symphony\u003c/strong>\u003c/p>\n\u003cp>July 29 – \u003cstrong>San Francisco Ballet\u003c/strong> with artistic director Helgi Tomasson\u003c/p>\n\u003cp>August 5 – \u003cstrong>Femi Kuti and the Positive Force\u003c/strong> and Sol Development\u003c/p>\n\u003cp>August 12 – \u003cstrong>Ronnie Spector and the Ronettes\u003c/strong> and the Humidors\u003c/p>\n\u003cp>August 19 – \u003cstrong>The Revolution\u003c/strong> and Big Blu Soul Revue\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>For more information about Stern Grove, click \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Ensemble Highlights the Women (Almost) Written Out of Jazz History",
"headTitle": "A New Ensemble Highlights the Women (Almost) Written Out of Jazz History | KQED",
"content": "\u003cp>In the early 1990s, the late \u003ca href=\"https://www.arts.gov/honors/jazz/melba-liston\">trombonist-arranger Melba Liston\u003c/a> lived with her three aunts in a stately, old home in Los Angeles’ West Adams neighborhood. Though she had recently suffered a stroke, she was in the midst of creating some of her most vivid work for pianist-composer and fellow NEA Jazz Master \u003ca href=\"https://www.arts.gov/honors/jazz/randy-weston\">Randy Weston\u003c/a>, a collaborator of hers since the ’50s. As the only female horn player to tour and record with some of the era’s definitive jazz orchestras, Liston had plenty of stories to tell when I visited her during those years.\u003c/p>\n\u003cp>She described repeated rapes on the road by fellow musicians with matter-of-fact sadness. She also remembered the support of one of her primary champions, trumpet legend \u003ca href=\"https://www.britannica.com/biography/Dizzy-Gillespie\">Dizzy Gillespie\u003c/a>.\u003c/p>\n\u003cp>Liston had made her mark on the L.A. jazz scene in the mid-1940s, playing and arranging for \u003ca href=\"https://www.arts.gov/honors/jazz/gerald-wilson\">Gerald Wilson’s\u003c/a> innovative big bands. When Gillespie brought her into his short-lived bebop orchestra at the end of that decade, some of the men grumbled loudly about a woman joining the band, asking, “Who’s this bitch?”\u003c/p>\n\u003cp>Gillespie ignored them and asked Liston to pass out an arrangement she’d written for the band. He counted it off and, within a few measures, it turned into a train wreck, with the top-shelf players confounded by her intricate writing. “\u003cem>Now\u003c/em> who’s the bitch?” Gillespie cackled.\u003c/p>\n\u003cp>“They didn’t say anything about me after that,” Liston recalled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojwANp_D_fE\u003c/p>\n\u003cp>Liston has been on my mind lately because a recently-formed band is playing some of her music at \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\">Freight & Salvage\u003c/a> in Berkeley on May 6. Co-founded and led by Oakland multi-instrumentalist Mwamba Blakwomyn (on bass) and Berkeley trombonist Pat Mullan, Mary Lou’s Apartment is a 12-piece, all-women ensemble created to celebrate the legacies of Liston and pianist-composer \u003ca href=\"http://newarkwww.rutgers.edu/ijs/mlw/intro2.html\">Mary Lou Williams\u003c/a>, an essential figure in jazz’s evolution from the swing era to bebop and beyond.\u003c/p>\n\u003cp>Mary Lou’s Apartment shines a welcome spotlight on two African-American women whose outsized contributions to American music are too often overlooked and forgotten. The multi-racial band features a critical mass of black women players that’s almost unprecedented in recent decades.\u003c/p>\n\u003cp>“That was the idea, putting women, and black women, up front,” said Mullan, a retired librarian who’s also the band manager of Berkeley’s long-running Junius Courtney Big Band.\u003c/p>\n\u003cfigure id=\"attachment_13830620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13830620 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg\" alt=\"Vocalist Deborah Tisdale introduces Mary Lou's Apartment at a recent performance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Deborah Tisdale introduces Mary Lou’s Apartment at a recent performance. \u003ccite>(Lucy Jane Bledsoe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t want to get into the craziness of a big band,” she continued. “But we thought something like a ‘little big band’ could work, mainly to play great music and have a copacetic group to hang out with. The time we spend rehearsing is the best part of my week.”\u003c/p>\n\u003cp>It’s more than appropriate that the musicians revel in the hang-out time rehearsal provides. The band takes its name from Williams’s Harlem digs on Sugar Hill, at 63 Hamilton Terrace. She famously left the door unlocked when she wasn’t home so musicians could drop by and use her piano. The apartment served as an after-hours spot and convivial workshop for artists like Thelonious Monk, Miles Davis, Tadd Dameron and Charlie Parker, who sought out Williams for advice on various musical matters.\u003c/p>\n\u003cp>A child prodigy who was supporting her family before she turned 10, the Pittsburgh-raised Williams established herself as a commanding blues and stride pianist in the 1920s. She wrote hits for Benny Goodman (“Roll ‘Em”), Duke Ellington (“Trumpets No End”) and Jimmie Lunceford (“What’s Your Story Mornin’ Glory”) in the swing era. Later, she was in the thick of the intellectual ferment that gave birth to bebop, supplying Gillespie with the hit “In the Land of Oo-Bla-Dee” in 1945.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3X5sVnZvaVQ\u003c/p>\n\u003cp>Williams is in the pantheon, but often overlooked: even some of the women in Mary Lou’s Apartment weren’t aware of her music.\u003c/p>\n\u003cp>Baritone saxophonist Jonnette Newton, a longtime educator who recently retired as the principal of the Bayside Martin Luther King Jr. Academy in Sausalito, grew up immersed in jazz. The niece of the great free-jazz drummer Sunny Murray, she admits she had “never heard of Mary Lou, even when my uncle was dragging me around New York to see music.”\u003c/p>\n\u003cp>“I was awed when I first met a woman sax player, when I saw Vi Redd in L.A.,” Newton added, referring to the fiery bebop altoist, vocalist and grand-niece of Melba Liston’s early L.A. mentor, Alma Hightower.\u003c/p>\n\u003cp>Newton had heard some of Liston’s music, and since joining Mary Lou’s Apartment, she’s delved into Williams’s life, reading Linda Dahl’s 2001 Williams biography \u003cem>Morning Glory\u003c/em> and regularly sharing snippets with her bandmates during rehearsals. But more than anything, she’s loved diving into the tunes.\u003c/p>\n\u003cp>“Both Mary Lou and Melba’s music is so complicated and quirky,” Newton said. “Mary Lou puts different formats into her music. For a minute, you’re going nice and smoothly — and then jagged and jerking — and she’ll tie all those movements together in one piece so brilliantly.”\u003c/p>\n\u003cp>https://youtu.be/8s-kcloC-fI\u003c/p>\n\u003cp>Liston is best known for her decades-long collaboration with Randy Weston, but she was a first-call trombonist who played on hundreds of jazz, pop and R&B sessions. Though she only recorded one album under her own name (1959’s \u003cem>Melba and Her ‘Bones\u003c/em>), she wrote arrangements for a bevy of classic albums.\u003c/p>\n\u003cp>Mullan spent time sifting through Liston’s archives at Columbia College in Chicago while seeking out tunes for the band. She also traveled to Rutgers University in New Jersey to look through Williams’s papers.\u003c/p>\n\u003cp>“It’s voluminous, and all in their handwriting, which is pretty amazing,” said Mullan. “I got one of Melba’s better-known pieces out of the Chicago archives, ‘Ben Loves Lu,’ a lush ballad statement about Ben Webster that we feature Barbara Hunter on with her big, beautiful tenor sound.”\u003c/p>\n\u003cp>Mary Lou’s Apartment’s repertoire continues to evolve so that each performance offers a snapshot of the bandmates’ latest investigations. Liston did a fair amount of writing for Williams, and Mullan hopes to present some of that material in the future.\u003c/p>\n\u003cp>At a time when women musicians inspired by #MeToo have been sharing accounts of mistreatment by male peers — ranging from disrespect to assault — Mary Lou’s Apartment provides a welcome look at black female brilliance that refuses not to shine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mary Lou’s Apartment perform at Freight & Salvage on May 6. More info \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Mary Lou's Apartment perform compositions by Mary Lou Williams and Melba Liston, two jazz greats whose contributions remain largely overlooked.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1990s, the late \u003ca href=\"https://www.arts.gov/honors/jazz/melba-liston\">trombonist-arranger Melba Liston\u003c/a> lived with her three aunts in a stately, old home in Los Angeles’ West Adams neighborhood. Though she had recently suffered a stroke, she was in the midst of creating some of her most vivid work for pianist-composer and fellow NEA Jazz Master \u003ca href=\"https://www.arts.gov/honors/jazz/randy-weston\">Randy Weston\u003c/a>, a collaborator of hers since the ’50s. As the only female horn player to tour and record with some of the era’s definitive jazz orchestras, Liston had plenty of stories to tell when I visited her during those years.\u003c/p>\n\u003cp>She described repeated rapes on the road by fellow musicians with matter-of-fact sadness. She also remembered the support of one of her primary champions, trumpet legend \u003ca href=\"https://www.britannica.com/biography/Dizzy-Gillespie\">Dizzy Gillespie\u003c/a>.\u003c/p>\n\u003cp>Liston had made her mark on the L.A. jazz scene in the mid-1940s, playing and arranging for \u003ca href=\"https://www.arts.gov/honors/jazz/gerald-wilson\">Gerald Wilson’s\u003c/a> innovative big bands. When Gillespie brought her into his short-lived bebop orchestra at the end of that decade, some of the men grumbled loudly about a woman joining the band, asking, “Who’s this bitch?”\u003c/p>\n\u003cp>Gillespie ignored them and asked Liston to pass out an arrangement she’d written for the band. He counted it off and, within a few measures, it turned into a train wreck, with the top-shelf players confounded by her intricate writing. “\u003cem>Now\u003c/em> who’s the bitch?” Gillespie cackled.\u003c/p>\n\u003cp>“They didn’t say anything about me after that,” Liston recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ojwANp_D_fE'\n title='//www.youtube.com/embed/ojwANp_D_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liston has been on my mind lately because a recently-formed band is playing some of her music at \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\">Freight & Salvage\u003c/a> in Berkeley on May 6. Co-founded and led by Oakland multi-instrumentalist Mwamba Blakwomyn (on bass) and Berkeley trombonist Pat Mullan, Mary Lou’s Apartment is a 12-piece, all-women ensemble created to celebrate the legacies of Liston and pianist-composer \u003ca href=\"http://newarkwww.rutgers.edu/ijs/mlw/intro2.html\">Mary Lou Williams\u003c/a>, an essential figure in jazz’s evolution from the swing era to bebop and beyond.\u003c/p>\n\u003cp>Mary Lou’s Apartment shines a welcome spotlight on two African-American women whose outsized contributions to American music are too often overlooked and forgotten. The multi-racial band features a critical mass of black women players that’s almost unprecedented in recent decades.\u003c/p>\n\u003cp>“That was the idea, putting women, and black women, up front,” said Mullan, a retired librarian who’s also the band manager of Berkeley’s long-running Junius Courtney Big Band.\u003c/p>\n\u003cfigure id=\"attachment_13830620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13830620 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg\" alt=\"Vocalist Deborah Tisdale introduces Mary Lou's Apartment at a recent performance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/by-lucy-jane-bledsoe.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Deborah Tisdale introduces Mary Lou’s Apartment at a recent performance. \u003ccite>(Lucy Jane Bledsoe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t want to get into the craziness of a big band,” she continued. “But we thought something like a ‘little big band’ could work, mainly to play great music and have a copacetic group to hang out with. The time we spend rehearsing is the best part of my week.”\u003c/p>\n\u003cp>It’s more than appropriate that the musicians revel in the hang-out time rehearsal provides. The band takes its name from Williams’s Harlem digs on Sugar Hill, at 63 Hamilton Terrace. She famously left the door unlocked when she wasn’t home so musicians could drop by and use her piano. The apartment served as an after-hours spot and convivial workshop for artists like Thelonious Monk, Miles Davis, Tadd Dameron and Charlie Parker, who sought out Williams for advice on various musical matters.\u003c/p>\n\u003cp>A child prodigy who was supporting her family before she turned 10, the Pittsburgh-raised Williams established herself as a commanding blues and stride pianist in the 1920s. She wrote hits for Benny Goodman (“Roll ‘Em”), Duke Ellington (“Trumpets No End”) and Jimmie Lunceford (“What’s Your Story Mornin’ Glory”) in the swing era. Later, she was in the thick of the intellectual ferment that gave birth to bebop, supplying Gillespie with the hit “In the Land of Oo-Bla-Dee” in 1945.\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/3X5sVnZvaVQ'\n title='//www.youtube.com/embed/3X5sVnZvaVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Williams is in the pantheon, but often overlooked: even some of the women in Mary Lou’s Apartment weren’t aware of her music.\u003c/p>\n\u003cp>Baritone saxophonist Jonnette Newton, a longtime educator who recently retired as the principal of the Bayside Martin Luther King Jr. Academy in Sausalito, grew up immersed in jazz. The niece of the great free-jazz drummer Sunny Murray, she admits she had “never heard of Mary Lou, even when my uncle was dragging me around New York to see music.”\u003c/p>\n\u003cp>“I was awed when I first met a woman sax player, when I saw Vi Redd in L.A.,” Newton added, referring to the fiery bebop altoist, vocalist and grand-niece of Melba Liston’s early L.A. mentor, Alma Hightower.\u003c/p>\n\u003cp>Newton had heard some of Liston’s music, and since joining Mary Lou’s Apartment, she’s delved into Williams’s life, reading Linda Dahl’s 2001 Williams biography \u003cem>Morning Glory\u003c/em> and regularly sharing snippets with her bandmates during rehearsals. But more than anything, she’s loved diving into the tunes.\u003c/p>\n\u003cp>“Both Mary Lou and Melba’s music is so complicated and quirky,” Newton said. “Mary Lou puts different formats into her music. For a minute, you’re going nice and smoothly — and then jagged and jerking — and she’ll tie all those movements together in one piece so brilliantly.”\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/8s-kcloC-fI'\n title='//www.youtube.com/embed/8s-kcloC-fI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liston is best known for her decades-long collaboration with Randy Weston, but she was a first-call trombonist who played on hundreds of jazz, pop and R&B sessions. Though she only recorded one album under her own name (1959’s \u003cem>Melba and Her ‘Bones\u003c/em>), she wrote arrangements for a bevy of classic albums.\u003c/p>\n\u003cp>Mullan spent time sifting through Liston’s archives at Columbia College in Chicago while seeking out tunes for the band. She also traveled to Rutgers University in New Jersey to look through Williams’s papers.\u003c/p>\n\u003cp>“It’s voluminous, and all in their handwriting, which is pretty amazing,” said Mullan. “I got one of Melba’s better-known pieces out of the Chicago archives, ‘Ben Loves Lu,’ a lush ballad statement about Ben Webster that we feature Barbara Hunter on with her big, beautiful tenor sound.”\u003c/p>\n\u003cp>Mary Lou’s Apartment’s repertoire continues to evolve so that each performance offers a snapshot of the bandmates’ latest investigations. Liston did a fair amount of writing for Williams, and Mullan hopes to present some of that material in the future.\u003c/p>\n\u003cp>At a time when women musicians inspired by #MeToo have been sharing accounts of mistreatment by male peers — ranging from disrespect to assault — Mary Lou’s Apartment provides a welcome look at black female brilliance that refuses not to shine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mary Lou’s Apartment perform at Freight & Salvage on May 6. More info \u003ca href=\"https://www.thefreight.org/event/1584305-mary-lous-apartment-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution",
"title": "The List: A Low-Budget Newsletter Keeping Punx Connected Since 1990",
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"content": "\u003cp>Although the new generation of punks may not recognize Steve Koepke, a white-mustached 65-year-old with a modest demeanor, NOFX’s Fat Mike makes sure to say hello to him when his band plays in the Bay Area. Billie Joe Armstrong often takes time to greet Koepke at Green Day’s shows, as well.\u003c/p>\n\u003cp>Getting nods from such punk royalty is no big deal to Koepke, who helped put these bands on the map as the creator of seminal concert calendar \u003ca href=\"http://www.calweb.net/~skoepke/\" target=\"_blank\" rel=\"noopener\">The List\u003c/a>, the flyer and email newsletter he started in 1990. For more than a generation, The List and its associated low-budget HTML site, \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a>, have been the de-facto way for locals interested in punk, funk, thrash, ska and rock to plan their show calendars.\u003c/p>\n\u003cp>“People come up to me in their 30s and say they were 14 years old and used to plan out their lives by this list,” says Koepke. Today, he’s still going strong with nearly 2,000 subscribers — despite the advent of services like Facebook events and Eventbrite.\u003c/p>\n\u003cp>Yet although he’s held the keys to hardcore heaven for nearly thirty years, The List’s creator remains a face in the crowd.\u003c/p>\n\u003ch3>Digitizing Zine Culture\u003c/h3>\n\u003cp>Koepke, a Richmond resident and Bay Area native, got into the punk scene around 1989 — when he was well over 30 — after a friend turned him onto Primus and Suicidal Tendencies. At that point, 924 Gilman had been open for only a few years and Koepke frequented it two or three times a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the energy [of punk], especially the young bands on stage at Gilman,” he says. “I saw a lot of old rock bands where people stand on stage and don’t move around; the music might be really good but that’s it.”\u003c/p>\n\u003cfigure id=\"attachment_13830460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_2-800x578.jpg\" alt=\"Steve Koepke at a show at 924 Gilman sometime in the '90s.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-520x376.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke at a show at 924 Gilman sometime in the ’90s. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Koepke was friends with Robert Eggplant, a musician and writer who published the punk fanzine Absolutely Zippo! Koepke wanted to get more involved in punk and, though he found zine culture appealing, he set his sights toward technology.\u003c/p>\n\u003cp>“I noticed there wasn’t a good show listing around, so I tried to get as much info as I could,” he says. “I used to leave little notes at Gilman and shows, and said, ‘If you want to get a listing of shows, send me an email.’”\u003c/p>\n\u003cp>At the time, Koepke was working in computer systems administration and used his Unix skills to develop an script that would populate a mass show listing email. In June 1990, at the dawn of the internet, The List was born and emailed out to the punk world.\u003c/p>\n\u003cp>These days, The List boasts 1,900 subscribers and features shows as far as Sparks, Nevada to the east, Redding to the north, and Modesto to the south. Koepke personally curates and posts well over 50 show listings per week, from backroom gigs at 1-2-3-4 Go! Records to bigger concerts at the Chapel and DNA Lounge. \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a> and five additional websites that use information from The List attract around 8,000 monthly visitors.\u003c/p>\n\u003cp>While Koepke used to focus exclusively on punk shows, The List has “pretty much anything,” including the occasional hip-hop or electronic show, or a music-adjacent art event. Particularly in its early days, The List became an accessible catch-all for punk, hardcore and ska bands who performed at DIY spaces and warehouses in addition to better-known venues like Gilman.\u003c/p>\n\u003cfigure id=\"attachment_11336203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336203\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-800x450.jpg\" alt=\"Green Day at 924 Gilman in the early 1990s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important to get the word out back in the day when Green Day would play backyards and kitchens, or bands like Rancid and AFI would play small venues,” Koepke says. “I hope people went to see those shows because I got the information out.”\u003c/p>\n\u003cp>The List spread through word of mouth, handled down from counterculture generation to counterculture generation. Koepke did no advertising beyond printing The List and distributing it to local venues, record stores and book shops. Since then, he’s received a continuous stream of interest from bookers, promoters, venue owners, publicists and bands who want their performances featured.\u003c/p>\n\u003cp>Twenty-eight years later, Koepke receives about 100 emails a day and spends between 6 and 12 hours a week curating the Bay’s many concerts for his subscribers. The List remains crucial for lesser-known local and touring bands that might otherwise get lost in the glut of events on Facebook or Do The Bay.\u003c/p>\n\u003ch3>DIY at the Dawn of the World Wide Web\u003c/h3>\n\u003cp>The List arrived in the years leading up to the birth of the World Wide Web, and Graham Spencer’s Foopee took things to the next level in 1994.\u003c/p>\n\u003cp>Spencer moved to the Bay Area to study computer science at Stanford about 30 years ago and fell into the Bay’s punk and hardcore community. “At the time, the Bay Area was an epicenter for that—there was Gilman Street, all the East Bay bands,” he says. Spencer met Koepke at a Gilman show, knew about The List, and wanted to improve upon it with a webpage.\u003c/p>\n\u003cp>With Koepke’s blessing, Spencer created Foopee.com, a stripped-down site that features a week-by-week, day-by-day listing of concerts. On Foopee, shows are further searchable by venue and band, and each listing notes whether the show is all ages, whether one should expect a mosh pit or whether it’s likely to sell out.\u003c/p>\n\u003cfigure id=\"attachment_13830462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-Comic.gif\" alt=\"“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992. \" width=\"600\" height=\"307\">\u003cfigcaption class=\"wp-caption-text\">“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992.\u003c/figcaption>\u003c/figure>\n\u003cp>A comic on Foopee’s homepage is the only clue to the origins of its name. Spencer explains that Foopee comes from a four issue fanzine called \u003cem>Dear Jesus\u003c/em>, which was created in the late ’80s by Born Against vocalist Sam McPheeters.\u003c/p>\n\u003cp>“They had a comic character called Foopee, and Foopee was just a real jerk,” Spencer says, noting the proper pronunciation is “foo-P.” “He only made like two different episodes of Foopee, but my friends and I thought it was funny.”\u003c/p>\n\u003cfigure id=\"attachment_13830464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS.jpg 1052w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from Foopee.com.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Foopee autonomously scrapes information from The List for daily updates. But it still looks straight out of the ‘90s with basic HTML formatting that’s devoid of any flair aside from blue hyperlinks. About 2,000 people visit the website each week — half from the Bay Area and the rest from Paris, Los Angeles and New York.\u003c/p>\n\u003cp>“I’ve thought about, ‘Should I make it fancier?’ But I kinda like it,” Spencer says. “There’s the aesthetic of punk which is everyone should grab a microphone or a guitar and make their own music; it’s sort of anti-professional. Anyone who knows old HTML could bang out something like [Foopee] — it matches what the music scene is about.”\u003c/p>\n\u003ch3>The List in the Age of Algorithms\u003c/h3>\n\u003cp>Elbo Room owner Matt Shapiro said he first encountered The List in 1994 at the now-shuttered Epicenter; he still tries to make sure all of his shows make it to the coveted site. Foopee is “very comprehensive as far as my interests are concerned. It’s awesome that everything is in one place and you don’t have to worry about an algorithm.”\u003c/p>\n\u003cp>Algorithms — specifically those belonging to Facebook, Songkick and other event-tracking platforms, neither of which responded to requests for comment for this story — may seem like the biggest threat to The List and Foopee. But Spencer, a partner in Google Ventures, credited Koepke’s unique curatorial approach for keeping the list relevant.\u003c/p>\n\u003cp>“It’s very democratic and egalitarian,” he says. “You could design algorithms to do that but, often times, that’s not what the people designing these systems want. Steve levels the playing field.”\u003c/p>\n\u003cp>Foopee and The List are also an unintentional cultural archive, a record of shows both large and small that shaped the Bay’s musical community. Many of the people who first contacted Koepke about his email list have become industry professionals with long social histories.\u003c/p>\n\u003cfigure id=\"attachment_13830465\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_1.jpg\" alt=\"Steve Koepke selling patches and passing out The List at 924 Gilman.\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-520x641.jpg 520w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke selling patches and passing out The List at 924 Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been doing it so long that a lot of people come up to me and thank me,” Koepke says, adding that most people wouldn’t recognize him. “It’s nice to think I accomplished something.”\u003c/p>\n\u003cp>Koepke still goes to shows at Gilman and the Phoenix Theater in Petaluma — two of his favorite venues in the Bay — though he’s not out in force as he once was. He spends time working at a car dealership and collecting antiques that he sells on eBay, occasionally thinking about what he might do with his massive record collection or bounty of show and rave flyers from the ’90s.\u003c/p>\n\u003cp>As venues fall prey to gentrification, and mega-promoters like Live Nation and Goldenvoice eclipse independent bookers, young artists can find it difficult to get a foothold in the Bay Area music scene. Yet Koepke remains hopeful for the underdogs. He points to the large amount of venues that have opened in the East Bay in the past few years, and sees some benefit to the tech sector.\u003c/p>\n\u003cp>“Right now there’s so many different venues that have shows,” Koepke says. “I think a lot of it has to do with the tech bubble because there’s a lot more young people with money looking for things to do. It’s a good thing because a lot of local bands are finding it easier to find places to play.”\u003c/p>\n\u003cfigure id=\"attachment_13830467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_6-800x597.jpg\" alt=\"Steve Koepke lounging on a counter at the Gilman.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-520x388.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke lounging on a counter at the Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s musical sensibilities have also drifted away from its ‘80s punk roots. Venues like Gilman are still crucial to the scene, but the groups who initially populated The List have blown up, faded away or left for other cities. Like many other regional cultural staples, punk has been pushed further into the fringes.\u003c/p>\n\u003cp>“I don’t know how punk’s gonna survive sometimes, because it gets so expensive that young bands might not be able to live here or practice,” Koepke says.\u003c/p>\n\u003cp>The Bay may no longer be the alternative epicenter it once was. But Koepke is confident that, like punk, The List will never die.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have almost 2,000 subscribers, as long as people want me to send it out, I will,” he says. “I guess eventually I’ll get too old to do it, but I think it’ll always be relevant because I can’t see people not going to shows anymore.”\u003c/p>\n\n",
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"title": "The List: A Low-Budget Newsletter Keeping Punx Connected Since 1990 | KQED",
"description": "Despite the advent of Facebook and other apps, Steve Koepke's hand-picked list of punk shows remains a Bay Area go-to three decades later. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although the new generation of punks may not recognize Steve Koepke, a white-mustached 65-year-old with a modest demeanor, NOFX’s Fat Mike makes sure to say hello to him when his band plays in the Bay Area. Billie Joe Armstrong often takes time to greet Koepke at Green Day’s shows, as well.\u003c/p>\n\u003cp>Getting nods from such punk royalty is no big deal to Koepke, who helped put these bands on the map as the creator of seminal concert calendar \u003ca href=\"http://www.calweb.net/~skoepke/\" target=\"_blank\" rel=\"noopener\">The List\u003c/a>, the flyer and email newsletter he started in 1990. For more than a generation, The List and its associated low-budget HTML site, \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a>, have been the de-facto way for locals interested in punk, funk, thrash, ska and rock to plan their show calendars.\u003c/p>\n\u003cp>“People come up to me in their 30s and say they were 14 years old and used to plan out their lives by this list,” says Koepke. Today, he’s still going strong with nearly 2,000 subscribers — despite the advent of services like Facebook events and Eventbrite.\u003c/p>\n\u003cp>Yet although he’s held the keys to hardcore heaven for nearly thirty years, The List’s creator remains a face in the crowd.\u003c/p>\n\u003ch3>Digitizing Zine Culture\u003c/h3>\n\u003cp>Koepke, a Richmond resident and Bay Area native, got into the punk scene around 1989 — when he was well over 30 — after a friend turned him onto Primus and Suicidal Tendencies. At that point, 924 Gilman had been open for only a few years and Koepke frequented it two or three times a week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love the energy [of punk], especially the young bands on stage at Gilman,” he says. “I saw a lot of old rock bands where people stand on stage and don’t move around; the music might be really good but that’s it.”\u003c/p>\n\u003cfigure id=\"attachment_13830460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_2-800x578.jpg\" alt=\"Steve Koepke at a show at 924 Gilman sometime in the '90s.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-520x376.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke at a show at 924 Gilman sometime in the ’90s. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Koepke was friends with Robert Eggplant, a musician and writer who published the punk fanzine Absolutely Zippo! Koepke wanted to get more involved in punk and, though he found zine culture appealing, he set his sights toward technology.\u003c/p>\n\u003cp>“I noticed there wasn’t a good show listing around, so I tried to get as much info as I could,” he says. “I used to leave little notes at Gilman and shows, and said, ‘If you want to get a listing of shows, send me an email.’”\u003c/p>\n\u003cp>At the time, Koepke was working in computer systems administration and used his Unix skills to develop an script that would populate a mass show listing email. In June 1990, at the dawn of the internet, The List was born and emailed out to the punk world.\u003c/p>\n\u003cp>These days, The List boasts 1,900 subscribers and features shows as far as Sparks, Nevada to the east, Redding to the north, and Modesto to the south. Koepke personally curates and posts well over 50 show listings per week, from backroom gigs at 1-2-3-4 Go! Records to bigger concerts at the Chapel and DNA Lounge. \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a> and five additional websites that use information from The List attract around 8,000 monthly visitors.\u003c/p>\n\u003cp>While Koepke used to focus exclusively on punk shows, The List has “pretty much anything,” including the occasional hip-hop or electronic show, or a music-adjacent art event. Particularly in its early days, The List became an accessible catch-all for punk, hardcore and ska bands who performed at DIY spaces and warehouses in addition to better-known venues like Gilman.\u003c/p>\n\u003cfigure id=\"attachment_11336203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336203\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-800x450.jpg\" alt=\"Green Day at 924 Gilman in the early 1990s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important to get the word out back in the day when Green Day would play backyards and kitchens, or bands like Rancid and AFI would play small venues,” Koepke says. “I hope people went to see those shows because I got the information out.”\u003c/p>\n\u003cp>The List spread through word of mouth, handled down from counterculture generation to counterculture generation. Koepke did no advertising beyond printing The List and distributing it to local venues, record stores and book shops. Since then, he’s received a continuous stream of interest from bookers, promoters, venue owners, publicists and bands who want their performances featured.\u003c/p>\n\u003cp>Twenty-eight years later, Koepke receives about 100 emails a day and spends between 6 and 12 hours a week curating the Bay’s many concerts for his subscribers. The List remains crucial for lesser-known local and touring bands that might otherwise get lost in the glut of events on Facebook or Do The Bay.\u003c/p>\n\u003ch3>DIY at the Dawn of the World Wide Web\u003c/h3>\n\u003cp>The List arrived in the years leading up to the birth of the World Wide Web, and Graham Spencer’s Foopee took things to the next level in 1994.\u003c/p>\n\u003cp>Spencer moved to the Bay Area to study computer science at Stanford about 30 years ago and fell into the Bay’s punk and hardcore community. “At the time, the Bay Area was an epicenter for that—there was Gilman Street, all the East Bay bands,” he says. Spencer met Koepke at a Gilman show, knew about The List, and wanted to improve upon it with a webpage.\u003c/p>\n\u003cp>With Koepke’s blessing, Spencer created Foopee.com, a stripped-down site that features a week-by-week, day-by-day listing of concerts. On Foopee, shows are further searchable by venue and band, and each listing notes whether the show is all ages, whether one should expect a mosh pit or whether it’s likely to sell out.\u003c/p>\n\u003cfigure id=\"attachment_13830462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-Comic.gif\" alt=\"“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992. \" width=\"600\" height=\"307\">\u003cfigcaption class=\"wp-caption-text\">“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992.\u003c/figcaption>\u003c/figure>\n\u003cp>A comic on Foopee’s homepage is the only clue to the origins of its name. Spencer explains that Foopee comes from a four issue fanzine called \u003cem>Dear Jesus\u003c/em>, which was created in the late ’80s by Born Against vocalist Sam McPheeters.\u003c/p>\n\u003cp>“They had a comic character called Foopee, and Foopee was just a real jerk,” Spencer says, noting the proper pronunciation is “foo-P.” “He only made like two different episodes of Foopee, but my friends and I thought it was funny.”\u003c/p>\n\u003cfigure id=\"attachment_13830464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS.jpg 1052w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from Foopee.com.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Foopee autonomously scrapes information from The List for daily updates. But it still looks straight out of the ‘90s with basic HTML formatting that’s devoid of any flair aside from blue hyperlinks. About 2,000 people visit the website each week — half from the Bay Area and the rest from Paris, Los Angeles and New York.\u003c/p>\n\u003cp>“I’ve thought about, ‘Should I make it fancier?’ But I kinda like it,” Spencer says. “There’s the aesthetic of punk which is everyone should grab a microphone or a guitar and make their own music; it’s sort of anti-professional. Anyone who knows old HTML could bang out something like [Foopee] — it matches what the music scene is about.”\u003c/p>\n\u003ch3>The List in the Age of Algorithms\u003c/h3>\n\u003cp>Elbo Room owner Matt Shapiro said he first encountered The List in 1994 at the now-shuttered Epicenter; he still tries to make sure all of his shows make it to the coveted site. Foopee is “very comprehensive as far as my interests are concerned. It’s awesome that everything is in one place and you don’t have to worry about an algorithm.”\u003c/p>\n\u003cp>Algorithms — specifically those belonging to Facebook, Songkick and other event-tracking platforms, neither of which responded to requests for comment for this story — may seem like the biggest threat to The List and Foopee. But Spencer, a partner in Google Ventures, credited Koepke’s unique curatorial approach for keeping the list relevant.\u003c/p>\n\u003cp>“It’s very democratic and egalitarian,” he says. “You could design algorithms to do that but, often times, that’s not what the people designing these systems want. Steve levels the playing field.”\u003c/p>\n\u003cp>Foopee and The List are also an unintentional cultural archive, a record of shows both large and small that shaped the Bay’s musical community. Many of the people who first contacted Koepke about his email list have become industry professionals with long social histories.\u003c/p>\n\u003cfigure id=\"attachment_13830465\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_1.jpg\" alt=\"Steve Koepke selling patches and passing out The List at 924 Gilman.\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-520x641.jpg 520w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke selling patches and passing out The List at 924 Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been doing it so long that a lot of people come up to me and thank me,” Koepke says, adding that most people wouldn’t recognize him. “It’s nice to think I accomplished something.”\u003c/p>\n\u003cp>Koepke still goes to shows at Gilman and the Phoenix Theater in Petaluma — two of his favorite venues in the Bay — though he’s not out in force as he once was. He spends time working at a car dealership and collecting antiques that he sells on eBay, occasionally thinking about what he might do with his massive record collection or bounty of show and rave flyers from the ’90s.\u003c/p>\n\u003cp>As venues fall prey to gentrification, and mega-promoters like Live Nation and Goldenvoice eclipse independent bookers, young artists can find it difficult to get a foothold in the Bay Area music scene. Yet Koepke remains hopeful for the underdogs. He points to the large amount of venues that have opened in the East Bay in the past few years, and sees some benefit to the tech sector.\u003c/p>\n\u003cp>“Right now there’s so many different venues that have shows,” Koepke says. “I think a lot of it has to do with the tech bubble because there’s a lot more young people with money looking for things to do. It’s a good thing because a lot of local bands are finding it easier to find places to play.”\u003c/p>\n\u003cfigure id=\"attachment_13830467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_6-800x597.jpg\" alt=\"Steve Koepke lounging on a counter at the Gilman.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-520x388.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke lounging on a counter at the Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s musical sensibilities have also drifted away from its ‘80s punk roots. Venues like Gilman are still crucial to the scene, but the groups who initially populated The List have blown up, faded away or left for other cities. Like many other regional cultural staples, punk has been pushed further into the fringes.\u003c/p>\n\u003cp>“I don’t know how punk’s gonna survive sometimes, because it gets so expensive that young bands might not be able to live here or practice,” Koepke says.\u003c/p>\n\u003cp>The Bay may no longer be the alternative epicenter it once was. But Koepke is confident that, like punk, The List will never die.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have almost 2,000 subscribers, as long as people want me to send it out, I will,” he says. “I guess eventually I’ll get too old to do it, but I think it’ll always be relevant because I can’t see people not going to shows anymore.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It",
"headTitle": "Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It | KQED",
"content": "\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\u003c/p>\n\u003cp>https://youtu.be/TdyllLZeviY\u003c/p>\n\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\u003c/p>\n\u003cp>https://youtu.be/_wVB6pfWwnE\u003c/p>\n\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "The Oakland-raised singer's declaration of queer identity is paving the way for others to be themselves. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\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/TdyllLZeviY'\n title='//www.youtube.com/embed/TdyllLZeviY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\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/_wVB6pfWwnE'\n title='//www.youtube.com/embed/_wVB6pfWwnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Nick's Do List Picks for April 27, 2018",
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"content": "\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\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>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Torrance Band Joyce Manor Makes Perfect Pop-Punk Miniatures",
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"content": "\u003cp>I’ll let my Do List co-host Nick Abraham, part of our KQED News Youth Takeover, tell you why he loves the band Joyce Manor:\u003c/p>\n\u003cp>“I discovered Joyce Manor about a year ago, I love their melodic mix of punk and indie rock. Every one of their albums is under 30 minutes, because most of their songs are 2 minutes or less. That’s what I loved about it — it was easy to listen to all of their music and process it. I saw them at the UC Theater back in November and it was a super fun show. They make it a point to make their shows safe spaces, unlike other many punk bands out there today.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ny0BJfwXEcc\u003c/p>\n\u003cp>I was more intrigued by the intensity of the opening band on tour with Joyce Manor, awakebutstillinbed. That’s Shannon Taylor’s “extremo” group, based in San Jose. She has the most self-deprecating album title of the year, \u003cem>What people call low self-esteem is really just seeing yourself the way that other people see you,\u003c/em> which is heart wrenching, and maybe not a great role model for young listeners. But the music is electrifying.\u003c/p>\n\u003cp>Joyce Manor and awakebutstillinbed play The Phoenix Theater in Petaluma on May 3, and The Ritz in San Jose on May 4. \u003ca href=\"https://www.joyce-manor.com/\" rel=\"noopener\" target=\"_blank\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fghvjUy4K10\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "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
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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