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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley Rapper Caleborate career began to take off in 2016, when his single “Options” hit big, with more than 1 million plays on Spotify. But as his new album \u003cem>Real Person\u003c/em> makes clear, Caleborate AKA Caleb Parker isn’t on an ego trip, even though our Senior Arts Editor Gabe Meline dubbed Caleborate “the East Bay’s next rap titan.” My co-host Jamedra Brown Fleischman and I decided our favorite song is “Caught Up,” about Caleborate’s troubled relationship with his dad. In it he sings:\u003c/p>\n\u003cblockquote>\u003cp>I’m just a byproduct of the pain I keep inside of\u003cbr>\nMy mind is always racing, but they ain’t no f***ing driver\u003cbr>\nMy heart is more cold than a pimp to a client\u003cbr>\n’cause I am not perfect, unlike God’s timing\u003cbr>\nI wanna do better, and I’m tryin’\u003c/p>\u003c/blockquote>\n\u003cp>Caleborate plays the The Cornerstone in Berkeley Feb. 22, and then he’s at The Atrium in Santa Cruz on Feb. 28. \u003ca href=\"https://www.facebook.com/thatblackkidthatraps/app/123966167614127/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z_02_aBCu_g'\n title='//www.youtube.com/embed/z_02_aBCu_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Clusterfest\u003c/a> returns to San Francisco this June, and it will feature the first live performance ever of the Berkeley-born comedy trio Lonely Island.\u003c/p>\n\u003cp>[contextly_sidebar id=”LEB7i4RtNl0oDLFaSlfd6rT876LIYo9Z”]\u003c/p>\n\u003cp>The re-titled “Comedy Central Presents Clusterfest” (apparently it’s no longer “colossal”) will also feature comic acts such as Amy Schumer, Tiffany Haddish, \u003cem>Saturday Night Live\u003c/em>’s Michael Che, and former \u003ci>Daily Show\u003c/i> host Jon Stewart, who will be performing for the first time on the west coast in 15 years. Just like last year, there will also be musical acts, such as San Francisco’s own Third Eye Blind, legacy hip hop trio Salt-N-Pepa, and food-lovin’ rapper Action Bronson. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OFWIPRJfrVU\u003c/p>\n\u003cp>Last year’s Clusterfest \u003ca href=\"https://www.forbes.com/sites/russespinoza/2017/06/30/after-breaking-the-mold-will-comedy-centrals-colossal-clusterfest-strive-for-more/#5ab7a1a238e8\" rel=\"noopener\" target=\"_blank\">reported 45,000 attendees\u003c/a>, so its return is no surprise. Comedy Central president Kent Alterman told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Clusterfest-returns-to-SF-with-Jon-Stewart-12609069.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that “we couldn’t imagine any reason not to do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the 70-plus act lineup is almost completely different from last year, the structure stays the same. Also, popular installations such as the \u003cem>South Park\u003c/em> County Fair and Paddy’s Pub from \u003cem>It’s Always Sunny in Philadelphia\u003c/em> will return, but the apartment from \u003ci>Seinfeld\u003c/i> will be replaced by Nickelodeon’s \u003cem>Double Dare\u003c/em> course and \u003cem>The Daily Show\u003c/em> Presents: The Donald J. Trump Presidential Twitter Library.\u003c/p>\n\u003cp>Having the Lonely Island play their first concert in San Francisco is befitting of the trio best known for movies such as \u003ci>Popstar: Never Stop Never Stopping\u003c/i> and viral videos like “\u003ca href=\"https://www.youtube.com/watch?v=sRhTeaa_B98\" rel=\"noopener\" target=\"_blank\">Lazy Sunday\u003c/a>.” The group formed in Berkeley in 2001, though the three members — Akiva Schaffer, Andy Samberg, and Jorma Taccone — had been friends since the ’90s, when they all attended Willard Junior High School. Despite having released three albums, the band has only performed live twice: at the 2015 Emmy Awards and the 2016 MTV Music Awards. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYbhKBWt2ig\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for all three days of Clusterfest start at $234.50, with VIP packages going for $600 or more. For tickets or to see the rest of the lineup, visit \u003ca href=\"https://www.clusterfest.com\" rel=\"noopener\" target=\"_blank\">www.clusterfest.com.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Clusterfest\u003c/a> returns to San Francisco this June, and it will feature the first live performance ever of the Berkeley-born comedy trio Lonely Island.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The re-titled “Comedy Central Presents Clusterfest” (apparently it’s no longer “colossal”) will also feature comic acts such as Amy Schumer, Tiffany Haddish, \u003cem>Saturday Night Live\u003c/em>’s Michael Che, and former \u003ci>Daily Show\u003c/i> host Jon Stewart, who will be performing for the first time on the west coast in 15 years. Just like last year, there will also be musical acts, such as San Francisco’s own Third Eye Blind, legacy hip hop trio Salt-N-Pepa, and food-lovin’ rapper Action Bronson. \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/OFWIPRJfrVU'\n title='//www.youtube.com/embed/OFWIPRJfrVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last year’s Clusterfest \u003ca href=\"https://www.forbes.com/sites/russespinoza/2017/06/30/after-breaking-the-mold-will-comedy-centrals-colossal-clusterfest-strive-for-more/#5ab7a1a238e8\" rel=\"noopener\" target=\"_blank\">reported 45,000 attendees\u003c/a>, so its return is no surprise. Comedy Central president Kent Alterman told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Clusterfest-returns-to-SF-with-Jon-Stewart-12609069.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that “we couldn’t imagine any reason not to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the 70-plus act lineup is almost completely different from last year, the structure stays the same. Also, popular installations such as the \u003cem>South Park\u003c/em> County Fair and Paddy’s Pub from \u003cem>It’s Always Sunny in Philadelphia\u003c/em> will return, but the apartment from \u003ci>Seinfeld\u003c/i> will be replaced by Nickelodeon’s \u003cem>Double Dare\u003c/em> course and \u003cem>The Daily Show\u003c/em> Presents: The Donald J. Trump Presidential Twitter Library.\u003c/p>\n\u003cp>Having the Lonely Island play their first concert in San Francisco is befitting of the trio best known for movies such as \u003ci>Popstar: Never Stop Never Stopping\u003c/i> and viral videos like “\u003ca href=\"https://www.youtube.com/watch?v=sRhTeaa_B98\" rel=\"noopener\" target=\"_blank\">Lazy Sunday\u003c/a>.” The group formed in Berkeley in 2001, though the three members — Akiva Schaffer, Andy Samberg, and Jorma Taccone — had been friends since the ’90s, when they all attended Willard Junior High School. Despite having released three albums, the band has only performed live twice: at the 2015 Emmy Awards and the 2016 MTV Music Awards. \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/kYbhKBWt2ig'\n title='//www.youtube.com/embed/kYbhKBWt2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Tickets for all three days of Clusterfest start at $234.50, with VIP packages going for $600 or more. For tickets or to see the rest of the lineup, visit \u003ca href=\"https://www.clusterfest.com\" rel=\"noopener\" target=\"_blank\">www.clusterfest.com.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Valentine’s Day can be cheesy, but KQED Arts’ playlist of new Bay Area love songs is anything but. These 10 tracks are full of smooth grooves and sexy rhythms to get your Feb. 14 going right — whether you’re hanging out with your boo or dancing alone in your room.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2017/08/30/pop-music-is-mostly-ignoring-rbs-women-of-color-and-it-totally-sucks/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> is adorably head-over-heels with her lady in the stripped-down, acoustic “Honey.” Meanwhile, \u003ca href=\"https://soundcloud.com/tianomore\" target=\"_blank\" rel=\"noopener\">Tia Nomore\u003c/a> spits game on the ’90s freestyle-inspired banger “Beggin’ (Remix),” also featuring Felicia Douglass and Studio Dad. \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a> charms on the low-key indie rock jam “I Think You’re Alright,” and producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> raps on his disco track “Start Things New,” which — refreshingly — is about approaching love from a place of openness and honesty.\u003c/p>\n\u003cp>Stream below and tell us your favorite song in the comments. And if you still need a valentine to give to your date, check out this year’s batch of our original \u003ca href=\"https://ww2.kqed.org/arts/2018/02/12/bay-area-themed-valentines-for-2018-from-sf-with-love/\" target=\"_blank\" rel=\"noopener\">Bay Area valentines\u003c/a> here.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Aga2ldjo713dvtkdfxiik0wai6%3Aplaylist%3A4QtaXwBQ0WP9CABwY8OT2t\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day can be cheesy, but KQED Arts’ playlist of new Bay Area love songs is anything but. These 10 tracks are full of smooth grooves and sexy rhythms to get your Feb. 14 going right — whether you’re hanging out with your boo or dancing alone in your room.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2017/08/30/pop-music-is-mostly-ignoring-rbs-women-of-color-and-it-totally-sucks/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> is adorably head-over-heels with her lady in the stripped-down, acoustic “Honey.” Meanwhile, \u003ca href=\"https://soundcloud.com/tianomore\" target=\"_blank\" rel=\"noopener\">Tia Nomore\u003c/a> spits game on the ’90s freestyle-inspired banger “Beggin’ (Remix),” also featuring Felicia Douglass and Studio Dad. \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a> charms on the low-key indie rock jam “I Think You’re Alright,” and producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> raps on his disco track “Start Things New,” which — refreshingly — is about approaching love from a place of openness and honesty.\u003c/p>\n\u003cp>Stream below and tell us your favorite song in the comments. And if you still need a valentine to give to your date, check out this year’s batch of our original \u003ca href=\"https://ww2.kqed.org/arts/2018/02/12/bay-area-themed-valentines-for-2018-from-sf-with-love/\" target=\"_blank\" rel=\"noopener\">Bay Area valentines\u003c/a> here.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Aga2ldjo713dvtkdfxiik0wai6%3Aplaylist%3A4QtaXwBQ0WP9CABwY8OT2t\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc\u003c/p>\n\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tmb13TOid94\u003c/p>\n\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "Remembering the longtime interpreter of American standards, who died Friday at age 70.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\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/R9USUBGOqRc'\n title='//www.youtube.com/embed/R9USUBGOqRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\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/Tmb13TOid94'\n title='//www.youtube.com/embed/Tmb13TOid94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The liminal space between life and death is the focus of installations up now at the Santa Cruz Museum of Art & History. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In today’s installment of “What, really?” news, a Huey Lewis and the News musical is in the planning stages.\u003c/p>\n\u003cp>Titled \u003ci>Heart of Rock and Roll,\u003c/i> the jukebox musical is not a biographical story about San Francisco’s kings of ’80s pop-rock, but it will feature their hit songs like “Hip to Be Square,” “If This is It” and “The Power of Love.” Though a premiere date or theater have not yet been announced, \u003ci>Rolling Stone\u003c/i> reports that \u003ca href=\"http://www.gordongreenberg.com/about/\" rel=\"noopener\" target=\"_blank\">Gordon Greenberg\u003c/a> will helm the project. Based in New York, Greenberg has directed dozens of works for the stage, including an award-winning production of \u003ci>Working\u003c/i> that he adapted with Stephen Schwartz and Lin-Manuel Miranda. \u003c/p>\n\u003cp>Television celebrity Jimmy Kimmel helped the band \u003ca href=\"https://www.rollingstone.com/music/news/huey-lewis-and-the-news-musical-heart-of-rock-and-roll-w516492\" rel=\"noopener\" target=\"_blank\">announce the news \u003c/a> in a video released Thursday morning. In the video, Kimmel expects to star in the musical as Lewis, despite Lewis not being a character in the show.\u003c/p>\n\u003cp>“I’m retiring from my show to play Huey Lewis, in a musical about Huey Lewis,” Kimmel says in the video. (Kimmel hosts the show \u003cem>Jimmy Kimmel Live\u003c/em> on ABC.)\u003c/p>\n\u003cp>Lewis and the News ruled ’80s radio after the release of their third album, 1983’s \u003ci>Sports.\u003c/i> (It also inspired a gruesome scene in Bret Easton Ellis’s \u003ci>American Psycho.\u003c/i>) In total, the band has had 19 top ten singles, three platinum albums and an \u003ca href=\"https://en.wikipedia.org/wiki/The_Power_of_Love_(Huey_Lewis_and_the_News_song)\" rel=\"noopener\" target=\"_blank\">Oscar nomination\u003c/a> over their almost 40-year career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By having their own musical, Lewis and the News join the ranks of iconic bands like ABBA and Green Day. It could also be a quite profitable venture. For example, Green Day’s \u003ci>American Idiot\u003c/i> grossed between \u003ca href=\"https://www.ibdb.com/grosses-production/american-idiot-485578/0\" rel=\"noopener\" target=\"_blank\">$400,000 to $1.3 million weekly\u003c/a> during its Broadway from 2010-2011. But it could also face the same fate as musical flops such as the Beach Boys musical \u003ci>Good Vibrations\u003c/i> or \u003ci>The Times They Are A-Changin’,\u003c/i> the Bob Dylan-inspired musical that closed after just 28 performances.\u003c/p>\n\u003cp>The musical is the band’s first project since their 2013 single, “While We’re Young,” which was featured in the animated film \u003ci>Animal Crackers.\u003c/i> The band is also expected to release a new album this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AaTQAaJWW54\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In today’s installment of “What, really?” news, a Huey Lewis and the News musical is in the planning stages.\u003c/p>\n\u003cp>Titled \u003ci>Heart of Rock and Roll,\u003c/i> the jukebox musical is not a biographical story about San Francisco’s kings of ’80s pop-rock, but it will feature their hit songs like “Hip to Be Square,” “If This is It” and “The Power of Love.” Though a premiere date or theater have not yet been announced, \u003ci>Rolling Stone\u003c/i> reports that \u003ca href=\"http://www.gordongreenberg.com/about/\" rel=\"noopener\" target=\"_blank\">Gordon Greenberg\u003c/a> will helm the project. Based in New York, Greenberg has directed dozens of works for the stage, including an award-winning production of \u003ci>Working\u003c/i> that he adapted with Stephen Schwartz and Lin-Manuel Miranda. \u003c/p>\n\u003cp>Television celebrity Jimmy Kimmel helped the band \u003ca href=\"https://www.rollingstone.com/music/news/huey-lewis-and-the-news-musical-heart-of-rock-and-roll-w516492\" rel=\"noopener\" target=\"_blank\">announce the news \u003c/a> in a video released Thursday morning. In the video, Kimmel expects to star in the musical as Lewis, despite Lewis not being a character in the show.\u003c/p>\n\u003cp>“I’m retiring from my show to play Huey Lewis, in a musical about Huey Lewis,” Kimmel says in the video. (Kimmel hosts the show \u003cem>Jimmy Kimmel Live\u003c/em> on ABC.)\u003c/p>\n\u003cp>Lewis and the News ruled ’80s radio after the release of their third album, 1983’s \u003ci>Sports.\u003c/i> (It also inspired a gruesome scene in Bret Easton Ellis’s \u003ci>American Psycho.\u003c/i>) In total, the band has had 19 top ten singles, three platinum albums and an \u003ca href=\"https://en.wikipedia.org/wiki/The_Power_of_Love_(Huey_Lewis_and_the_News_song)\" rel=\"noopener\" target=\"_blank\">Oscar nomination\u003c/a> over their almost 40-year career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By having their own musical, Lewis and the News join the ranks of iconic bands like ABBA and Green Day. It could also be a quite profitable venture. For example, Green Day’s \u003ci>American Idiot\u003c/i> grossed between \u003ca href=\"https://www.ibdb.com/grosses-production/american-idiot-485578/0\" rel=\"noopener\" target=\"_blank\">$400,000 to $1.3 million weekly\u003c/a> during its Broadway from 2010-2011. But it could also face the same fate as musical flops such as the Beach Boys musical \u003ci>Good Vibrations\u003c/i> or \u003ci>The Times They Are A-Changin’,\u003c/i> the Bob Dylan-inspired musical that closed after just 28 performances.\u003c/p>\n\u003cp>The musical is the band’s first project since their 2013 single, “While We’re Young,” which was featured in the animated film \u003ci>Animal Crackers.\u003c/i> The band is also expected to release a new album this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AaTQAaJWW54'\n title='//www.youtube.com/embed/AaTQAaJWW54'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9XLaIFTmJF8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\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/9XLaIFTmJF8'\n title='//www.youtube.com/embed/9XLaIFTmJF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\n\u003cp>https://twitter.com/BKCHarvard/status/961373106047774721\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \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=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\u003c/p>\u003c/div>",
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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca 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https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Shabazz Palaces (Ishmael Butler and Tendai Maraire) makes music that sounds like what might happen if Sun Ra played hip-hop. Afro-futurist and socially conscious, the duo’s songs are also just plain \u003cem>weird\u003c/em>. Butler’s a former member of Digable Planets, among the most influential early hip-hop bands; my co-host this week, Marc Bamuthi Joseph, says he loves Shabazz and has an aesthetic debt to repay to Butler.\u003c/span>\u003c/p>\n\u003cp>“I was raised on a bunch of writers,” Marc says, “from Toni Morrison to Sonia Sanchez to George Orwell to Alice Walker, but the writers who most shaped my literary sensibilities were MCs like KRS-ONE, Chuck D of Public Enemy, and folks in the Native Tongues crew. The group that really brought it all together for me at a critical moment of my life was Digable Planets with the song ‘La Femme Fetal,’ basically the cut that made me think I could be a poet too.” Perhaps Butler and Shabazz Palaces will inspire you too. They perform at the Ritz in San Jose on Feb. 20, and at the Chapel on Feb. 21 as part of Noise Pop; details \u003ca href=\"http://www.shabazzpalaces.com/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4wQUv87URYU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The castle in the Mission District has been sold.\u003c/p>\n\u003cp>According to the San Francisco Business Times, a developer purchased San Francisco’s National Guard Armory, one of two 4,000-capacity spaces for live music in the city, for $65 million. The Chicago-based developer, Benjamin Weprin, worked previously with Soho House, a private club and hotel operator. \u003c/p>\n\u003cp>The sale puts the Armory’s future as a music venue in limbo, says current Armory director of events Audrey Joseph. In charge of the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" rel=\"noopener\" target=\"_blank\">venue since 2015\u003c/a>, Joseph told local news blog \u003ca href=\"https://48hills.org/2018/02/sf-armory-kink-developer/\" rel=\"noopener\" target=\"_blank\">48 Hills\u003c/a> that she and the rest of her team at Armory Events will be out by the end of March. She added that a major concert promotion company is “angling” to take over the Armory, but would only be able to contract with the venue for a year.\u003c/p>\n\u003cp>Some suggest that the company Joseph refers to is \u003ca href=\"http://www.goldenvoice.com/\" rel=\"noopener\" target=\"_blank\">Goldenvoice\u003c/a>, the company behind the massive Coachella Valley Music and Arts Festival who recently took over booking for local clubs the Great American Music Hall and Slim’s, and who is currently promoting shows by Lil Uzi Vert and Erykah Badu at the Armory.\u003c/p>\n\u003cp>“It’s strange because we have huge events coming up here,” Joseph told 48 Hills. In addition to Uzi Vert and Badu, the Armory’s event calendar includes “the Opel party, a bunch of corporate events. We’re working our asses off. So really, I cannot say I know anything exactly that’s going on, other than the last week of March we’re out.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sale somewhat confirms \u003ca href=\"https://sf.eater.com/2017/11/14/16650330/sf-armory-soho-house-social-club-kink-am-intel\" rel=\"noopener\" target=\"_blank\">reports last year\u003c/a> that Soho House aimed to purchase the venue, as Weprin helped develop a former belt factory into the Chicago Soho House. The Welprin-affiliated company SF Armory LLC completed the purchase on Jan. 26. \u003c/p>\n\u003cp>The $65 million price tag could mean previous owner Peter Acworth made quite a profit. Acworth bought the century-old castle-like building in 2006 for $14.5 million to host his BDSM website, Kink.com. As free Internet porn and political pushes to require condom use in porn undercut Kink’s profitability, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/25/kink-com-to-stop-filming-in-san-francisco-next-month/\" rel=\"noopener\" target=\"_blank\">Kink.com stopped filming\u003c/a> at the Armory and Acworth moved to turn the hall into office space and a music venue — with \u003ca href=\"https://ww2.kqed.org/arts/2015/09/24/entertainment-commission-nightlife-heroes-or-instrument-of-destruction/\" rel=\"noopener\" target=\"_blank\">Joseph’s help\u003c/a>.\u003c/p>\n\u003cp>But the transition wasn’t cheap: not only did Acworth pay millions to convert the space into a music venue, he helped finance the campaign against \u003ca href=\"https://www.huffingtonpost.com/peter-acworth/sfs-prop-i-will-kill-plan_b_8209472.html\" rel=\"noopener\" target=\"_blank\">San Francisco’s Proposition I\u003c/a>, which would’ve limited the Armory’s concert calendar.\u003c/p>\n\u003cp>Calls and emails to AJ Capital Partners and Armory Events were not returned.\u003c/p>\n\u003cp>Built in 1914, the Armory originally housed the arsenal for local National Guardsmen. From the ’20s to the 40s, it served as a sports venue and was referred to as the “\u003ca href=\"http://www.sfarmory.com/history/\" rel=\"noopener\" target=\"_blank\">Madison Square Garden of the West\u003c/a>.”\u003c/p>\n\u003cp>\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\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
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