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"content": "\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What's Going On?'",
"headTitle": "‘Do You Want To Talk To The Man-In-Charge, Or The Woman Who Knows What’s Going On?’ | KQED",
"content": "\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>[contextly_sidebar id=”oh1P5RN0B0Ewenz1DrgoySrRlDcLsAM2″]\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>[contextly_sidebar id=”8qrA8mtFF4M2EHo4Tjj3w5fUZvjIWfk0″]\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m sure I could’ve gotten tickets, though,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+You+Want+To+Talk+To+The+Man-In-Charge%2C+Or+The+Woman+Who+Knows+What%27s+Going+On%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in the late 1950s and early ’60s, Betty Cantor developed an early talent for tinkering. “I used to take things like radios, other little electronic devices if they didn’t work, open them up, mess with them, put them back together and they worked,” she remembers during a recent phone call. “I could fix watches that wouldn’t work for anybody else.” Her fascination with how things worked helped her breeze through the available math and science classes at her Martinez, Calif. high school to the point that, she said, “they ran out of things for me to do, so they let me go over to the college to play at the lab.”\u003c/p>\n\u003cp>“Math was fun, I enjoyed it, and science was discovery,” she says. “The universe is math, right? Just how it all fits together.” She began traveling regularly, sitting in on seminars about chemistry and metallurgy in Berkeley and San Francisco in the ’60s — a place where lots of other young people were also investigating, in lots of different ways, how the universe fit together. That’s where she met the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>, with whom she’d eventually travel thousands of miles over close to 20 years, recording hundreds of hours of tape and becoming one of the many female workers, supporters and associates who shaped the story of America’s most weird, colorful, \u003cem>sui generis \u003c/em>rock and roll band.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During her junior year, Cantor had written a term paper on the history of psychedelic drugs. LSD, which had first been synthesized about 25 years earlier, had enjoyed a short period of favor in the U.S. as a potentially salubrious psychotherapeutic aid. By the time Cantor was researching it, the pendulum of official opinion was already starting its swing backward; in 1966, California and Nevada became the first states to criminalize possession of the drug, and a federal ban would follow two years later. The budding teen scientist wanted to draw her own conclusions, though, and for reasons that crossed over into the personal.\u003c/p>\n\u003cp>“I read everything back to 1943 on [psychedelics] basically, and decided maybe there was an answer to why I felt like an alien where I lived,” she says. “I decided I was going to see colors and tastes and I wasn’t going to go crazy. I had made that decision.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At some point during her senior year, Cantor went to San Francisco and took her first acid trip. “And I ended up at 710 Ashbury Street,” she says — the Victorian house where members of the Grateful Dead and associates lived together, like turned-on, tuned-in fraternity brothers, in 1966 and ’67.\u003c/p>\n\u003cp>“Bobby [Weir] opened it up, he had his guitar on him, and he just ushered me in,” she remembers. “He bowed and said ‘Come on in.’ That was that.”\u003c/p>\n\u003cp>Cantor’s inaugural dose of LSD-25 might easily have come via the efforts of another couple of young women in the Dead orbit: Melissa Cargill and Rhoney Gissen, two Berkeley undergrads who shared a boyfriend named Augustus Owsley Stanley III, or Bear for short. Gissen was a Berkeley transfer student, a former Mount Holyoke lit major attracted to the wild scene burgeoning on the opposite coast. She and Cargill became lab assistants for their partner, helping to synthesize a pure and potent LSD that has been lovingly memorialized in media ranging from Jefferson Airplane song lyrics to official biographies. They also became experts in setting up and taking down the huge Wall of Sound PA system Bear — a Renaissance man of the hippie era, who was also an early adopter of the high-protein low-carb diet and believer in global climate change — invented, revolutionizing concert sound.\u003c/p>\n\u003cp>In her 2012 book \u003cem>Owsley and Me: My LSD Family\u003c/em>, Gissen (now known as Rhoney Gissen Stanley after taking on Bear’s last name, though the two never married) writes about how the Dead provided a backdrop and a context for her own personal awakening: expanding her mind, questioning her assumptions and becoming confident in making her own choices — including the choice to leave the group’s immediate orbit in the early 1970s, once she had a young son to care for.\u003c/p>\n\u003cp>“One of the reasons I left was that I wanted to forge my own path,” she says. “Other women felt the same; we didn’t want to raise our kids around a drug-taking, rock and roll environment.”\u003c/p>\n\u003cp>“A lot of women were unable to come into their own until they actually left the scene,” she continues, although many formed what she called “cottage industries” that orbited the band: travel agencies, fashion design, poster art, ticketing, newsletters — and many also stayed in touch, even after leaving the active scene.\u003c/p>\n\u003cp>“I still talk to women I met in 1968 [through the Grateful Dead]” she says. “The women formed a community, and that community still exists. Our children had children, and the grandchildren are friendly.”\u003c/p>\n\u003cp>Meanwhile, back in the ’60s, Cantor didn’t run away with the Grateful Dead circus immediately. She had some experience booking bands for events at her high school back across the bay, so here in her new cosmic counterculture world, it made sense to get a job at the Avalon Ballroom, the historic venue on Sutter and Van Ness where promoters like Chet Helms and Bill Graham booked acid-friendly groups like the Dead, the 13th Floor Elevators and \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a>. Cantor started out putting up posters around town for the Avalon, then moved, in swift order, to running concessions, running the box office and finally, traveling to Denver in late 1967 to help the Helms’ Family Dog collective set up an outpost.\u003c/p>\n\u003cp>The Denver project was short-lived, and Cantor was back in San Francisco by 1968, working at the Carousel Ballroom and learning sound engineering at an underground FM station, thinking she might want to be a DJ. That led to an apprenticeship with Dead recording tech Bob Matthews, who she met (and briefly dated) while handling concessions at the Carousel. “Their subsequent romance,” longtime band publicist and historian Dennis McNally writes, “did not obscure the fact that she turned into a good engineer as well as an ace hot-dog salesperson.”\u003c/p>\n\u003cp>In the end, Cantor chose mics and tape over hot dogs, though, working as an engineer and producer on official live and studio albums from 1968’s \u003cem>Anthem of the Sun\u003c/em> through 1981’s \u003cem>Dead Set — \u003c/em>and perhaps more importantly, recording hundreds of reels of soundboard tape. In a community of fans that prizes each live document of the band for its own special \u003cem>terroir\u003c/em>, its unique setlist and vibe, Betty Boards became some of the most celebrated; it was a Betty Board that the Library of Congress, in 2011, inducted into its National Recording Registry to commemorate the particularly legendary May 1977 concert at Cornell University’s Barton Hall.\u003c/p>\n\u003cp>Cantor had been solidly ensconced in the Dead camp — which was expanding as colorfully as the images in a liquid light show at the Avalon — for several years when Candace Brightman signed on for her own long, strange, multi-decade trip. Raised in the Chicago suburbs, Brightman had studied set design at St. John’s College in Annapolis, Md. and then made her way to New York City, a childhood dream. When she applied for a cashier’s job at the Anderson Theater on Second Avenue — a forerunner to Bill Graham’s Fillmore East and later, a very brief expansion of CBGB — she was turned down, but sent backstage to see if they had anything for her. They told her to come back on Friday.\u003c/p>\n\u003cp>“So I came back Friday, but there was nobody there to teach me,” she tells me on the phone from her home in Hawaii. “It’s clear they’re about to start the show… The band came onstage, and I hit a circuit breaker. Everybody seemed pleased… I thought, ‘Oh, okay. That’s not too hard.'”\u003c/p>\n\u003cp>“Scrabbling around lower Manhattan with weird jobs was a big adventure,” she says. “I was born in ’44. I was supposed to grow up and marry some rich guy. That whole thing never took with me at all. I was always getting sent to detention study hall in high school, and getting in trouble with the police and everything — I mean, not getting in trouble with them, but I liked to run away from them when they were trying to catch me. I just liked to have a lot of fun, and I didn’t like people who took themselves too seriously… and the Dead were so into absurdity, which is one of my favorite things in the world.”\u003c/p>\n\u003cp>Among the theater people and the hippies and rockers in the East Village, she’d found her tribe. There was an overlap between the staff of the more loosely managed neighborhood rock venues and nearby NYU’s technical theater department so, serendipitously, Brightman picked up formal skills on the job. She lit the Grateful Dead at the Anderson and the Fillmore East, as well as during their famous 1971 run at the Capitol Theatre in Port Chester, N.Y., a little ways outside the city. That was where Jerry Garcia, after a gig opening for the Mahavishnu Orchestra with keyboard player Howard Wales, invited her to join the gang.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It felt like the perfect job for a designer who had always felt creatively in tune with light (“I don’t like certain times of day,” she answers when I ask if she feels like a visually-oriented person, “I could never have worked in an office because of fluorescent lighting”) and who gravitated toward the eccentric and the unpredictable. Brightman became the Grateful Dead’s first touring lighting designer, hitting the road with them (and Betty Cantor) for the Europe ’72 tour that would become an iconic live triple album of the same name.\u003c/p>\n\u003cp>A 1973 \u003cem>Rolling Stone\u003c/em> article about the burgeoning Grateful Dead business empire reveals the beginnings of the patchwork quilt of band-related cottage industries Rhoney Gissen Stanley remembered. Frankie Weir, Bob’s then-partner, ran a travel agency called Fly By Night that handled tour details for the Dead and other bands. Eileen Law managed the office and the growing fan mailing list (which introduced the phrase \u003cem>Deadheads \u003c/em>into the lexicon) which she continued to do well into the 21st century. Betty Cantor was a cofounder of Alembic, the Dead-associated gear workshop and studio established in 1968; Phil Lesh’s ex Rosie McGee, who had changed her name from Florence Nathan, worked there and at Fly By Night well after the breakup. Drummer Bill Kreutzmann’s wife Susila, who also owned a boutique, made T-shirts — an enterprise that Dennis McNally, author of the epic 2002 band history \u003cem>Long Strange Trip: The Inside History of the Grateful Dead\u003c/em>, theorizes could well have been the dawn of the rock and roll shirts as concert merch.\u003c/p>\n\u003cp>“They basically only trusted women with their office and their money, from 1970 on,” McNally tells me — after the famous financial debacle in which drummer Mickey Hart’s father Lenny managed to embezzle more than $100,000 from band accounts during a stint as manager. That’s corroborated by the detailed 1994 reference text \u003cem>Skeleton Key: A Dictionary for Deadheads\u003c/em>. It sets the scene in its entry for “Office” with the description of a sign there that read: “Do you want to talk to the man-in-charge, or to the woman who knows what’s going on?” The office, the entry goes on to say, was “primarily the domain of strong, unpretentious women,” represented heavily in accounting, fan relations, licensing and publishing and other roles.\u003c/p>\n\u003cp>Cantor was on the board, Brightman directed the lights, Cargill and Gissen had made the dope and set up the revolutionary sound system (under Owsley’s stewardship) and back at the office, several departments boasted reasonable gender parity. So was the Grateful Dead a precociously woke organization, a paragon of women in psychedelic STEM? In \u003cem>Long Strange Trip\u003c/em>, McNally answers bluntly in the negative: “It would be ridiculous to suggest that the Dead is a bastion of feminist liberation.”\u003c/p>\n\u003cp>His observation comes in a mini-chapter titled “Interlude/Intermission: ‘Waits Backstage While I Sing to You,'” a reference to the \u003cem>American Beauty \u003c/em>track “Sugar Magnolia,” that ode to the capable and patient band girlfriend (“takes the wheel when I’m seeing double / pays my ticket when I speed”) usually assumed to have been inspired by Frankie Weir. McNally’s interlude covers much of the same ground as \u003cem>Skeleton Key\u003c/em>‘s peek inside the Dead offices, although perhaps with more emphasis on the relationships between the extended family of employees, colleagues, friends and lovers that turned on the band’s axis, with the lines between identities often blurred. The \u003cem>Rolling Stone \u003c/em>piece describes that community with the term \u003cem>karass\u003c/em>, a Kurt Vonnegut coinage from his 1963 sci-fi novel \u003cem>Cat’s Cradle\u003c/em> — from which the band got the name of its music-publishing company, Ice-Nine — meaning a group of otherwise-unrelated people who are destined to go through life linked to one another. (Considering how connected so many old-school affiliates seem to remain today, the term seems presciently accurate.) Women, the gist of the chapter seems to be, were full-fledged \u003cem>karass \u003c/em>members on their own Grateful Dead path — divorces, breakups and job changes notwithstanding.\u003c/p>\n\u003cp>Still, McNally makes clear, it was no gender-neutral utopia. The same chapter, set in the ’80s, quotes a roadie overheard saying “I love the sight of spandex in the morning.”\u003c/p>\n\u003cp>“The Grateful Dead were, absolutely, sexist,” McNally tells me. “They were the victims of stock mid-century American male privilege and attitude. No question. But at the same time, they had … very strong, interesting and creative women who weren’t shy about their opinions… So they weren’t dumb and they weren’t Neanderthals and they learned things.”\u003c/p>\n\u003cp>Stanley, who is at work on her own history of women in the sprawling Grateful Dead scene, tells me that the de facto sexism of the rock world was actually a bit of a blessing for her and Cargill during their time with Owsley. “When we traveled, like to Monterey Pop, and we were at the airport – to just be a girlfriend sitting on the trunk looking pretty was a way of protecting the fact that we had all these chemicals with us,” she says.\u003c/p>\n\u003cp>Amir Bar-Lev, who directed the 2017 Grateful Dead documentary \u003cem>Long Strange Trip: The Untold Story of the Grateful Dead\u003c/em>, agreed with McNally that the band’s culture included a “misogynistic streak” – he said that to a \u003cem>Billboard\u003c/em> journalist who asked him why the ambitious, four-hour film included so few interviews with women. Spouses and ex-spouses, and children – like Jerry Garcia’s daughter Trixie – make up most of the female representation in the movie. Gissen, Brightman and Cantor don’t appear; neither does Eileen Law or key early associate Carolyn “Mountain Girl” Adams Garcia, both of whom, Bar-Lev told \u003cem>Billboard,\u003c/em> declined to participate.\u003c/p>\n\u003cp>The omissions seem notable, especially considering that for those fans who might be listening for a mention of Law or Brightman or Cantor or accountant Nancy Mallonee or Ice-Nine Publishing administrator Annette Flowers or even the iconic hippie queen Mountain Girl — a member of Ken Kesey’s band of psychedelic cosmonauts, the Merry Pranksters, who turns up in Tom Wolfe’s \u003cem>Electric Kool-Aid Acid Test\u003c/em> – the mentions don’t come. (Annabelle Garcia, Mountain Girl’s daughter with Jerry, joined the director and band members at the Sundance Film Festival.)\u003c/p>\n\u003cp>Donna Jean Godchaux — who was invited to and did agree to be interviewed for \u003cem>A Long Strange Trip — \u003c/em>holds the distinction of being the only female member of the Grateful Dead. She sang in the band for almost all of the 1970s, while her husband Keith was taking his turn in the ever-shifting Dead keyboardist’s chair (the perpetual morbid joke being that to play keys for the Dead is like taking on the drummer’s job in Spinal Tap.) It’s probably also fair to say that Donna wins the prize for most-criticized former band member. A Rolling Stone feature on her from 2014 begins with this apologetic lede: “Donna Jean Godchaux knows what you’re thinking, especially if you’re a Deadhead: That her voice wasn’t always spot-on.”\u003c/p>\n\u003cp>Donna, who grew up near Florence, Ala. (the site of the Alabama Music Hall of Fame, of which she is an inductee) worked as a teen backup vocalist on sessions in Muscle Shoals, recording behind \u003ca href=\"https://www.npr.org/artists/15406033/percy-sledge\">Percy Sledge\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis \u003c/a>and Cher, among others, at the famed studio there before falling in with the Dead — to whose fans she would eventually become a topic of endless argument. McNally offered some perspective in defense of the singer. Her sense of showmanship, for one, he says, offended fans who liked to think of their band as virtuously free from such razzle-dazzle and flash.\u003c/p>\n\u003cp>“She had certain stage tricks, as it were, that violated the aesthetics of the Grateful Dead,” he says, “which was no theatrics, no smoke bombs… There was a very puritanical streak to Deadheads that held great pride in the fact that they didn’t wear costumes; it was all about the music.” As for complaints about the recordings on which Donna appeared in the ’70s: “It had a great deal more to do with the flaws of the albums,” he says. “They did \u003cem>Shakedown Street \u003c/em>coked out. It’s a mediocre album. Plus, they just didn’t like being in the studio. They did not make good studio albums. And ‘Terrapin [Station]'” – the title track from the 1977 album that was the Godchauxs’ second-to-last as band members – “was a masterpiece, as a song.” Still, Donna Godchaux has so far gone down in history, in part, as the sort of Skyler White of Dead fandom: a female flashpoint of complaints.\u003c/p>\n\u003cp>The \u003cem>Rolling Stone \u003c/em>report from ’73 — the year after Donna joined up — runs down the many departments buzzing away in the band’s business hive. It refers to the crew’s space in the office as the “boys’ room,” never mind that newly-hired Brightman appears briefly in the piece running lights and directing a union crew — and that surely, as Cantor was a member of the sound team, the room would have been her domain, too. But rock and roll production was — surprise of surprises — itself a boys’ room, and Brightman and Cantor (who would soon marry road manager Rex Jackson) faced their share of challenges.\u003c/p>\n\u003cp>“Imagine a venue in Texas in 1972,” says Brightman. “‘Who’s this pretty lady?’ And in France! Forget it. They hated having women do anything.” Once, a company in Atlanta refused to rent gear to her. She remembers sometimes pretending not to be in charge, in order to make her job go more smoothly with venue staff – although still, her tools might get stolen or her ladder moved when she was hanging lights, sometimes by her own team. (Which, admittedly, Brightman — who still sounds actively mischievous, close to 50 years after taking a job, in part, because of its potential for absurdity — thinks was kind of funny: “Actually, I think that’s hilarious,” she says. “There was one time when I got down off the ladder and went over and tried to beat [stage manager and guitar tech] Steve Parish up. He’s about 6’3″, and I beat him up – I was just so mad I was pounding on him. Then we fell over into Billy Kreutzmann’s drum kit.”)\u003c/p>\n\u003cp>Betty Cantor-Jackson also recalls having to do a certain level of social acrobatics just to get her job done right: “The only way I could get things done was to ask stupid questions that actually weren’t stupid – they were questions designed to get them to understand what they were working with. I couldn’t \u003cem>tell \u003c/em>him, because that would not go, because I was a girl… [I would] play a dumb blonde and ask stupid questions and get them to understand their own self.” Cantor-Jackson took the extra time to convince venue sound engineers that her ideas were their own, and in that way, she recorded an increasingly celebrated body of work, including tapes from Radio City Music Hall, \u003cem>Saturday Night Live\u003c/em> and the now-enshrined Cornell ’77 show.\u003c/p>\n\u003cp>“I hated it, but there were times I had to do it,” she says. “If I wanted to hear them play loud on TV, then I better make sure it works.”\u003c/p>\n\u003cp>Brightman and Cantor-Jackson traveled together on tour for years and were friends, though the nature of their different jobs meant their work didn’t overlap very much. Still, as two women in a tech crew where women were scarce, they had to come up with a solution to cut down on the frequency with which they were mistaken for one another. People tended to look for Cantor-Jackson more often, so when they had the T-shirts made with her face on them, she says, “Candace’s said ‘No I’m Not,’ and mine said ‘Yes I Am.'”\u003c/p>\n\u003cp>Brightman left the Dead and returned to the group several times over the years, sometimes quitting over bad behavior in her traveling workplace.\u003c/p>\n\u003cp>“We were all big dogs, kind of daring each other to do things,” she says. She enjoyed a lot of it. The band had the right level of weirdness to keep her entertained — and she figures she had whatever strangely calibrated formula of personality it took to thrive in their singular company. One thing Brightman couldn’t abide, though, was when the big dogs picked on the little dogs — and that was the crew, she says, not the band. She had her own team on the road – which often included other women – but other tech staff were definitely of the “spandex in the morning” variety, and it pissed her off. “That was really hard,” she admits. “I wish to God they didn’t have that crew. We could have had so much fun.”\u003c/p>\n\u003cp>“They talked so badly,” she says. “Like, someone would say [about a female crew member] ‘If she wasn’t so ugly, I’d f*** her brains out.’ I’d get in there and say ‘Don’t you ever talk like that around my crew.’ That’s where I put my foot down, when I see someone else getting abused.”\u003c/p>\n\u003cp>Cantor-Jackson left the band caravan in the ’80s and never really returned. Her husband Rex had been killed in a car wreck in 1976, and at some point after that, she dated Dead keyboardist Brent Mydland. When they split, she felt alienated and frozen out, as an “ex-old lady.” The ties of the \u003cem>karass\u003c/em> weren’t working for her, and financial problems snowballed. In the mid-’80s, she lost her house to foreclosure and put most of her possessions — including more than a thousand reels of tape, from the Dead and other groups — in a storage unit. But when she found herself unable to keep current on the fees, her things were auctioned off, \u003cem>Storage Wars\u003c/em>-style. The lengthy saga — moldy or damaged tapes, buyers who figured out what they were, archivists who restored them and fans who eagerly welcomed them back into circulation — helped create one of the more dramatic narratives within the Grateful Dead storybook. Arguably, when the tale was reported in multiple publications, including \u003cem>Relix \u003c/em>and the \u003cem>New Yorker\u003c/em>, it also (deservedly) helped revive the sparkle on her image in the scene and beyond.\u003c/p>\n\u003cp>In the early 1970s, Stanley took Starfinder, her toddler son with Bear, back to the East Coast where she became (like her father) a dentist.\u003c/p>\n\u003cp>“There was so much voodoo going on with the flower children, ‘What sign are you’ or, ‘Let’s throw the I Ching,'” she tells me. “I decided I needed to balance that by studying science.” Today, she runs a holistic orthodontia practice in Saugerties, NY. The soldering skills she learned on Owsley’s sound crew, she says, come in handy in her practice.\u003c/p>\n\u003cp>Brightman continued to work in lighting design for Dead-related projects and, between 2004-2008, for the jamband Widespread Panic. In 2015, she came out of retirement in Hawaii to direct lighting for the Grateful Dead’s 50th-anniversary Fare Thee Well shows at Chicago’s Soldiers Field and Levis Stadium in Santa Clara, Calif. In a particularly bitter twist of irony, it was announced in early 2018 that Brightman — who had carefully, delightedly crafted the way bands were seen for more than 40 years — is losing her vision to age-related macular degeneration. Fans have set up a crowdfunding account for her treatment.\u003c/p>\n\u003cp>Cantor-Jackson is the production manager, engineer and road manager for Glide Memorial, an inclusive Methodist congregation in San Francisco with an eight-piece band and up to 110 people in its choir. She also has an ongoing gig with the Chris Robinson Brotherhood and its associated projects, whose jam/Americana fandom overlaps heavily with Deadheads, recording their live shows as “Betty’s Blends.” For the 50th anniversary Grateful Dead celebration in 2015, Betty went to the shows in Santa Clara, instead of trekking to Chicago for the more-heralded Fourth of July weekend run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m sure I could’ve gotten tickets, though,” she says.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Do+You+Want+To+Talk+To+The+Man-In-Charge%2C+Or+The+Woman+Who+Knows+What%27s+Going+On%3F%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Man Alone: Solo Bass Conversations with Dave Holland",
"headTitle": "A Man Alone: Solo Bass Conversations with Dave Holland | KQED",
"content": "\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JmvCZxZ_jwM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\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/JmvCZxZ_jwM'\n title='//www.youtube.com/embed/JmvCZxZ_jwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nicollettemw/status/974298645666451456\u003c/p>\n\u003cp>https://twitter.com/mswawasi/status/974909891520458752\u003c/p>\n\u003cp>https://twitter.com/ChelseaClinton/status/973215666244325376\u003c/p>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\n\u003cp>https://twitter.com/KylieJenner/status/966429897118728192\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company’s stock quickly fell 6 percent, erasing more than a billion dollars from its market value, \u003ca href=\"http://money.cnn.com/2018/02/22/technology/snapchat-update-kylie-jenner/index.html\">said CNN\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snapchat%27s+Stock+Sinks+After+Rihanna+Denounces+Domestic+Violence+Ad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "James Levine Sues Met Opera, Accuses it of 'Cynically Hijacking' #MeToo",
"headTitle": "James Levine Sues Met Opera, Accuses it of ‘Cynically Hijacking’ #MeToo | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16053303/james-levine\" target=\"_blank\" rel=\"noopener\">James Levine\u003c/a>, the famed conductor who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/12/592983504/metropolitan-opera-fires-james-levine-for-sexual-misconduct\">fired earlier this week\u003c/a> by New York’s Metropolitan Opera following its internal investigation into allegations of sexually abusive conduct towards young artists, has responded by suing the Met and its General Manager Peter Gelb.\u003c/p>\n\u003cp>“The Met, lacking contractual authority, suspended Maestro Levine without even the courtesy of a conversation regarding the substance of the allegations or the basis of his suspension,” the lawsuit begins. It goes on to accuse the Met of “McCarthyite tactics” due to the organization’s protection of the privacy of Levine’s accusers, a common practice for employers when presented with accusations of this type.\u003c/p>\n\u003cp>Levine’s complaint points out that the Met was aware of the 2016 police report filed against him, but “took no disciplinary action.” It also accuses the company of “cynically hijacking the good will of the #MeToo movement,” and says that Gelb and the Met “brazenly seized on these allegations as a pretext to end a long-standing personal campaign to force Levine out of the Met and cease fulfilling its legally enforceable financial commitments to him.”\u003c/p>\n\u003cp>Levine is seeking at least $5.85 million in damages, in part over breach of his employment contract as music director emeritus, a position the Met created specifically for him and in which he was meant to serve until 2026.\u003c/p>\n\u003cp>The Met Opera \u003ca href=\"https://www.metopera.org/About/Press-Releases/Statement/\" target=\"_blank\" rel=\"noopener\">rebutted\u003c/a> Levine’s suit publicly yesterday, writing: “There is no basis for Mr. Levine’s assertion that the Met was on a vendetta against him, when in fact the Met supported him through prolonged and repeated periods of illness that kept him from the podium, at one point spanning two entire seasons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It continues: “During the course of the investigation, Mr. Levine was offered numerous opportunities to be interviewed, beginning in December. It was only when the investigation was wrapping up, upon realization that termination was imminent, that he agreed to be interviewed, but on impossible terms, asking that the identity of his accusers, who had been promised anonymity, be disclosed.”\u003c/p>\n\u003cp>In its statement on firing Levine as the Met Opera’s music director emeritus and artistic director of its young artist program issued earlier this week, the organization wrote that its investigation had “uncovered credible evidence that Mr. Levine had engaged in sexually abusive and harassing conduct both before and during the period when he worked at the Met.” Levine first conducted at the institution in the early 1970s, and was only removed as an employee earlier this week — a period of nearly half a century.\u003c/p>\n\u003cp>The controversy around Levine, while said to have been rumored for some time, became public after a police report was furnished to the press in early December 2017. The report, filed two years ago in Illinois, alleged Levine had assaulted the pianist and violinist Ashok Pai while the artist was a teenager in the late 1980s. Pai was attending the Ravinia Music Festival in Illinois at the time, which features a program for young musicians with professional career aspirations. Levine was the festival’s music director for over 20 years.\u003c/p>\n\u003cp>In the wake of the accusations, Ravinia and several other organizations quickly \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/05/568619074/after-assault-allegations-classical-institutions-rush-to-distance-from-james-lev\" target=\"_blank\" rel=\"noopener\">severed ties with the conductor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As his lawsuit makes plain, Levine “strenuously denies” the allegations against him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=James+Levine+Sues+Met+Opera%2C+Accuses+It+Of+%27Cynically+Hijacking%27+%23MeToo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "iHeartMedia Turns the Dial to Bankruptcy",
"headTitle": "iHeartMedia Turns the Dial to Bankruptcy | KQED",
"content": "\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “substantial doubt” that iHeartMedia’s corporate leaders expressed around the company’s likelihood of surviving another year, mentioned in its \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/11/ihmedia-form-10-q-11-8-2017-11878765.pdf\" target=\"_blank\" rel=\"noopener\">quarterly financial report\u003c/a> last November, has been put to rest.\u003c/p>\n\u003cp>iHeartMedia, the country’s largest radio broadcaster with around 850 stations and a leading outdoor advertising company, is filing for bankruptcy after spending years trying to manage its $20 billion in outstanding indebtedness. (For some context, per that November statement, iHeartMedia was obligated to pay $1.8 billion in interest over that coming year.)\u003c/p>\n\u003cp>iHeartMedia radio stations in the \u003ca href=\"https://www.iheartmedia.com/iheartmedia/stations?city=San+Francisco\" rel=\"noopener\" target=\"_blank\">San Francisco Bay Area\u003c/a>, such as Wild 94.9 and 106 KMEL, did not publicly respond to the news Thursday. \u003c/p>\n\u003cp>The company writes in a press release that it has reached “an agreement in principle with holders of more than $10 billion of its outstanding debt and its financial sponsors” that will essentially cut its debt in half, and that it has filed motions with the court to be allowed to operate normally through the restructuring. The bankruptcy follows, by two months, \u003ca href=\"https://www.wsj.com/articles/cumulus-media-files-for-bankruptcy-1512044443\" target=\"_blank\" rel=\"noopener\">the bankruptcy of the country’s \u003cem>second\u003c/em>-largest radio company\u003c/a>, Cumulus, which offloaded $1 billion in debt.\u003c/p>\n\u003cp>Per the terms of \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1457737/000119312518083160/d494465d8k.htm\" target=\"_blank\" rel=\"noopener\">its filing\u003c/a>, the company will distribute 91.79 percent of its “reorganized common stock” after the upcoming restructuring, and establish $5.41 billion in new secured debt to its debtees. As well, those debt holders will receive all of the equity it holds in its dominant outdoor advertising company, Clear Channel Outdoor Holdings (CCOH), which will be distributed in the same way. Asked to clarify who would be receiving these equities, iHeartMedia declined to comment and referred NPR to the language of the filing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>iHeartMedia has spent the past several years attempting to deal with its financial burden, which weighed down what would otherwise seem to be, according to its revenues and operating incomes, a healthy company.\u003c/p>\n\u003cp>In 2017, for example, in order to put off having to pay some $476.4 million in debt securities it would have owed in 2018, the company exchanged that debt for the same amount, at a higher interest rate, due in 2021. It also did the opposite, exchanging debt securities due in 2021 for that year in exchange for a lower interest rate — however, many of the debts it exchanged this way last year were significantly lower than the debts it chose to delay; $15.6 million and $45 million in two transactions, for example. In 2016, \u003ca href=\"http://content.iheartmedia.acsitefactory.com/sites/g/files/cxvnva216/files/investor_documents/files/2017/03/ihcomm-form-10-q-11-9-2016-11220738.pdf\" target=\"_blank\" rel=\"noopener\">the company sold\u003c/a> a subsidiary, Broader Media, $383 million of iHeartMedia’s debt at a price of $222.2 million, relieving itself of $156.7 million and saving it $38.3 million in interest.\u003c/p>\n\u003cp>About 10 years ago, the amount paid for iHeartMedia, Inc. — $26.7 billion — was a particularly lofty example of a “leveraged buyout”; broadly, the term for purchasing a company by borrowing the money from banks, which issue those loans against the company’s cash and assets. The buyout was led by Bain Capital, the private equity firm founded by Mitt Romney in 1984, and Thomas H. Lee Partners. It was funded by a consortium of banks — Citigroup, Deutsche Bank, Morgan Stanley, Credit Suisse, Royal Bank of Scotland and Wachovia.\u003c/p>\n\u003cp>In a strange twist, THL and Bain ended up suing those six banks in March 2008 after they supposedly planned to \u003ca href=\"http://www.nytimes.com/2008/03/27/business/media/27radio-web.html\" target=\"_blank\" rel=\"noopener\">back out of the agreement\u003c/a>. When it seemed those court cases weren’t going to be ruled in their favor, they all \u003ca href=\"https://www.sec.gov/Archives/edgar/data/739708/000095013408009540/d56929exv99w1.htm\" target=\"_blank\" rel=\"noopener\">reached a settlement in May 2008\u003c/a>. These bank loans take the form of long-term debt that can leave companies with little breathing room as the interest payments, and larger debt obligations, begin rolling in.\u003c/p>\n\u003cp>The timing of iHeartMedia’s buyout, which took place as the financial crisis was truly beginning, was poor. “So-called legacy media industries have faced fierce competition for advertising dollars from digital formats,” writes Matthew Crain, an assistant professor of media studies at CUNY who \u003ca href=\"https://academicworks.cuny.edu/qc_pubs/171/\">examined private equity and media ownership\u003c/a> shortly after the iHeartMedia buyout, in an email to NPR. “The great recession also hit advertising quite hard across the board.”\u003c/p>\n\u003cp>“Before the buyout, Clear Channel held a good amount of debt from its 1990s merger spree and had already been hollowing out its stations’ local identities by imposing efficiencies, like moving to popular cookie cutter formats and reducing live programming. Private equity accelerated these trends and added a mountain of new debt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bob Pittman, chairman and CEO of iHeart, writes: “We have transformed a traditional broadcast radio company into a true 21st century multi-platform, data-driven, digitally-focused media and entertainment powerhouse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR Music. To see more, visit \u003ca href=\"\">NPR Music\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=iHeartMedia+Turns+The+Dial+To+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Reminder: There's Less Than Two Weeks Left to Enter NPR's Tiny Desk Contest",
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"content": "\u003cp>An exhaustive \u003ca href=\"https://noisey.vice.com/en_us/article/a34qxb/the-desk-from-npr-tiny-desk-concerts-is-actually-not-tiny-an-investigation\" target=\"_blank\" rel=\"noopener\">investigation\u003c/a> recently exposed one of the biggest secrets in public media: that NPR’s Tiny Desk is not so tiny, after all. In fact, the L-shaped table is large enough to pack in a 23-member band and a 900-pound grand piano.\u003c/p>\n\u003cp>Such revelations don’t change the fact that Tiny Desk concerts are a fascinating way to experience favorite artists, short of seeing them live. The minimalist setup and emphasis on live instrumentation forces bands to adapt, showing viewers what they can do without software and other trickery. The constraints have yielded magical results, like when twin sisters \u003ca href=\"https://www.npr.org/event/music/583477709/ibeyi-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Ibeyi\u003c/a> sang enchanting harmonies in Yoruba, or when \u003ca href=\"https://www.npr.org/event/music/585836082/big-daddy-kane-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Big Daddy Kane\u003c/a> transformed the NPR office into a time warp to hip-hop’s early days.\u003c/p>\n\u003cp>https://youtu.be/K2Pf41N5Rqo\u003c/p>\n\u003cp>As it has every year since 2015, NPR is taking submissions for its annual Tiny Desk Contest, with entries open through Mar. 25. One lucky undiscovered band will get the chance to play a Tiny Desk show at NPR’s headquarters in Washington, D.C. and drive around the country on a U.S. tour. To enter, artists must submit a video of themselves playing an original song at a desk of their choosing — “tiny” or not.\u003c/p>\n\u003cp>Previous winners have included Oakland’s Fantastic Negrito, who won a Grammy in 2017 for Best Contemporary Blues Album after winning the Tiny Desk Concert in 2015. To learn more about the contest and how to submit, click \u003ca href=\"http://tinydeskcontest.npr.org/open/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An exhaustive \u003ca href=\"https://noisey.vice.com/en_us/article/a34qxb/the-desk-from-npr-tiny-desk-concerts-is-actually-not-tiny-an-investigation\" target=\"_blank\" rel=\"noopener\">investigation\u003c/a> recently exposed one of the biggest secrets in public media: that NPR’s Tiny Desk is not so tiny, after all. In fact, the L-shaped table is large enough to pack in a 23-member band and a 900-pound grand piano.\u003c/p>\n\u003cp>Such revelations don’t change the fact that Tiny Desk concerts are a fascinating way to experience favorite artists, short of seeing them live. The minimalist setup and emphasis on live instrumentation forces bands to adapt, showing viewers what they can do without software and other trickery. The constraints have yielded magical results, like when twin sisters \u003ca href=\"https://www.npr.org/event/music/583477709/ibeyi-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Ibeyi\u003c/a> sang enchanting harmonies in Yoruba, or when \u003ca href=\"https://www.npr.org/event/music/585836082/big-daddy-kane-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Big Daddy Kane\u003c/a> transformed the NPR office into a time warp to hip-hop’s early days.\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/K2Pf41N5Rqo'\n title='//www.youtube.com/embed/K2Pf41N5Rqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As it has every year since 2015, NPR is taking submissions for its annual Tiny Desk Contest, with entries open through Mar. 25. One lucky undiscovered band will get the chance to play a Tiny Desk show at NPR’s headquarters in Washington, D.C. and drive around the country on a U.S. tour. To enter, artists must submit a video of themselves playing an original song at a desk of their choosing — “tiny” or not.\u003c/p>\n\u003cp>Previous winners have included Oakland’s Fantastic Negrito, who won a Grammy in 2017 for Best Contemporary Blues Album after winning the Tiny Desk Concert in 2015. To learn more about the contest and how to submit, click \u003ca href=\"http://tinydeskcontest.npr.org/open/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Air: Suzie & Gabe's Picks for March 16, 2018",
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"content": "\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like Rex Tillerson, Cy Musiker is out of the office — and thus, Suzie Racho and Gabe Meline are your Do List secretaries of state this week. Listen above for our picks which, as usual, were culled from a huge list of great events around the Bay Area. (One that we couldn’t squeeze in for North Bay listeners is the \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">Sebastopol Documentary Film Festival\u003c/a>, running March 22–25; \u003ca href=\"https://sebastopolfilmfestival.org/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.)\u003c/p>\n\u003cp>This week’s picks are below; click through the links below for more details.\u003c/p>\n\u003cul>\n\u003cli>\u003cb>March 17:\u003c/b> \u003ca href=\"https://www.kqed.org/arts/13827267/ute-lempers-german-cabaret-rollercoaster-of-emotion\" rel=\"noopener\" target=\"_blank\">Ute Lemper is most often affiliated with Kurt Weill, but this tour she interprets Edith Piaf, Jacques Brel, Astor Piazzolla and more.\u003c/a> \u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Opening March 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827275/hip-hop-history-at-the-oakland-museum\" target=\"_blank\" rel=\"noopener\">Bay Area rappers and producers get recognized at an expansive exhibit of hip-hop’s influence at the Oakland Museum.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 22–25:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827261/weve-come-a-long-way-since-steamboat-willie\" rel=\"noopener\" target=\"_blank\">Berkeley’s Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827255/giving-the-drummer-some-at-a-rejuvenated-ivy-room\" rel=\"noopener\" target=\"_blank\">Jazz drummer Scott Amendola blows into Albany’s erstwhile dive bar with keyboardists, sax players, and members of Los Lobos in tow.\u003c/a>\u003c/li>\n\u003cp>\u003cbr clear=\"all\">\u003cbr>\n\u003cb>Shout Outs:\u003c/b>\u003cbr>\n\u003c/p>\n\u003cli>\u003cstrong>March 22:\u003c/strong> \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2017-18/MTT-Conducts-Mahler-Fifth.aspx\" rel=\"noopener\" target=\"_blank\">Michael Tilson Thomas and his favorite composer, Mahler, together again at Davies Symphony Hall.\u003c/a>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>June 30 – July 1:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13826271\" rel=\"noopener\" target=\"_blank\">Devo, the Damned and more in this year’s lineup for Burger Boogaloo in Oakland\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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