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"content": "\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\u003c/p>\n\u003cp>https://youtu.be/MwDrcvGTODs\u003c/p>\n\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer-songwriter Meklit has belted out funk with James Brown’s saxophonist, covered indie rock hits with sweet \u003ca href=\"https://www.youtube.com/watch?v=wot63F4rFQ0\">soulman Quinn DeVeaux\u003c/a>, and collaborated with musicians from across Northeast Africa for \u003ca href=\"http://nileproject.org\">the Nile Project\u003c/a>, a visionary NGO she co-founded. Her translucent voice finds a cozy home in every far-flung setting, but she’s never sounded as free and grounded as on \u003cem>When the People Move the Music Moves Too\u003c/em>, which was released this past June on Six Degrees Records.\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/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A creative breakthrough born out of bandstand experimentation, the album weaves together Meklit’s Ethiopian roots with a propulsive menagerie of African-diaspora grooves. As the album’s title suggests, Meklit captures the way culture and beats evolve as people move across regions and continents. Her lyrics evoke the love and ache for worlds left behind, but tracks like the soaring opener “This Was Made Here” also speak to the ecstatic power of self-reinvention.\u003c/p>\n\u003cp>Recorded in Addis Ababa, Los Angeles, New Orleans, and San Francisco, the album is a collaboration with Grammy Award-winning LA songwriter and \u003ca href=\"https://danwilsonmusic.com/about/official-bio/\">producer Dan Wilson\u003c/a>, renowned for his work with Adele, the Dixie Chicks, and Taylor Swift. Rather than trying to fit the uncategorizable Meklit into a neat, pop niche, he expands her textural palette with guest artists Andrew Bird (on violin and whistling), the Preservation Hall Jazz Band, and top-shelf session players from LA.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1405085050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seminal Ethiopian vibraphonist-composer Mulatu Astatke once \u003ca href=\"http://www.sfgate.com/music/article/Meklit-s-music-takes-off-on-an-odyssey-from-7521764.php\" target=\"_blank\" rel=\"noopener\">instructed Meklit\u003c/a> to find her own voice beyond Ethio-jazz. With \u003cem>When the People Move\u003c/em>, she’s clearly risen to the challenge, building her new sound on a jazz-steeped rhythm section featuring drummer Colin Douglas, percussionist Marco Peris Coppola (on Balkan frame drum), and bassist-arranger Sam Bevan. She accompanies her lilting vocals with guitar and the six-string \u003cem>krar\u003c/em>, an Ethiopian lyre. \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a>’s churning lines on tenor and baritone saxophones provide the band with a big, thumping bottom.\u003c/p>\n\u003cp>Though Meklit laces the album with Ethiopian cadences, it’s striking when an unexpected sound moves to the foreground, as on the thrumming, bittersweet ballad “Yesterday is a Tizita,” which flows from Meklit’s \u003cem>krar\u003c/em> to Tassew Wondem’s ethereal wooden flute (\u003cem>washint\u003c/em>). Whether you call it Ethio-East Bay funk, Bay-Amharic boogie, or NoLa Addis-soul, \u003cem>When the People Move\u003c/em> is a deeply satisfying project that also suggests half a dozen new directions Meklit might travel in the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ralph Carney Dies at 61: Saxophonist, Composer, Tom Waits Collaborator",
"headTitle": "Ralph Carney Dies at 61: Saxophonist, Composer, Tom Waits Collaborator | KQED",
"content": "\u003cp>Ralph Carney, the innovative saxophonist whose tone was as large as his sideburns, has died at 61, Consequence of Sound \u003ca href=\"https://consequenceofsound.net/2017/12/r-i-p-ralph-carney-acclaimed-saxophonist-and-tom-waits-collaborator-has-died-at-61/\" rel=\"noopener\" target=\"_blank\">reports\u003c/a>.\u003c/p>\n\u003cp>An imaginative musician and session player who collaborated most famously with Tom Waits in the mid-1980s, as well as groups like Galaxie 500 and the Waitresses, Carney first came to prominence in the new wave group Tin Huey, based in Akron, Ohio. \u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11268314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015. \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carney, the uncle of the Black Keys’ Patrick Carney, would go on to a career spanning new wave, jazz, indie rock, experimental music and, in a \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">recent composition based on the Charleston shooting\u003c/a>, classical music. In 2014, he and nephew Patrick collaborated on the theme song to the Netflix series \u003cem>BoJack Horseman\u003c/em>.\u003c/p>\n\u003cp>“Our family and friends are all devastated. He was an immensely talented musician, deeply thoughtful and funny,” said Patrick Carney \u003ca href=\"https://pitchfork.com/news/saxophonist-ralph-carney-dead-at-61/?mbid=homepage-more-latest-and-video\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>. “Without him I never would have listened to the music I do or even considered playing it.” On Twitter, he \u003ca href=\"https://twitter.com/patrickcarney/status/942479048177053696\" rel=\"noopener\" target=\"_blank\">added\u003c/a> that Ralph Carney “taught me so much…. he sat me down at 15 and made me \u003ca href=\"https://www.youtube.com/watch?v=XR9d4ESlpHY\" rel=\"noopener\" target=\"_blank\">listen to the Shaggs\u003c/a>. We all need an uncle like that.”\u003c/p>\n\u003cp>On saxophone, violin and other instruments, Carney reached perhaps his most appreciative audience playing with Tom Waits. As a key contributor to Waits’ reinvention in 1980s New York, Carney helped solidify a strange new direction in music alongside guitarist Marc Ribot on albums like \u003cem>Frank’s Wild Years\u003c/em> and \u003cem>Rain Dogs\u003c/em>. Though replaced in Waits’ band on recent tours, Carney appeared onstage with Waits at Bay Area concerts as recently as 1999. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In San Francisco, where he lived for 28 years before moving to Portland in 2015, Carney was a member of the Oranj Symphonette with Matt Brubeck, son of jazz legend Dave Brubeck. He also headed up the outfit Carneyball Johnson, using his multi-instrumentalist skills to great effect. Throughout his career, Carney collaborated with the B-52’s, Yo La Tengo, Jonathan Richman, They Might Be Giants, Medeski Martin & Wood, Bill Laswell, Elvis Costello, Frank Black, Les Claypool, the Black Keys and many others.\u003c/p>\n\u003cp>[contextly_sidebar id=”TYo3a2vDUhFC9rc0yuJ9ADKPB2MJkwG7″]\u003c/p>\n\u003cp>In 2015, after the church shooting in Charleston, South Carolina, Carney was watching TV when the shooter was arraigned. “The victims’ families were there, and they were all like, ‘I forgive you,’” Carney \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a>. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’” The result, “Lament for Charleston,” was performed at the Cabrillo Festival of Contemporary Music in Santa Cruz with the Kronos Quartet.\u003c/p>\n\u003cp>The cause of death, according to early reports, is related to injuries sustained in an accident. Services have not yet been announced.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Carney, the innovative saxophonist whose tone was as large as his sideburns, has died at 61, Consequence of Sound \u003ca href=\"https://consequenceofsound.net/2017/12/r-i-p-ralph-carney-acclaimed-saxophonist-and-tom-waits-collaborator-has-died-at-61/\" rel=\"noopener\" target=\"_blank\">reports\u003c/a>.\u003c/p>\n\u003cp>An imaginative musician and session player who collaborated most famously with Tom Waits in the mid-1980s, as well as groups like Galaxie 500 and the Waitresses, Carney first came to prominence in the new wave group Tin Huey, based in Akron, Ohio. \u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" class=\"size-medium wp-image-11268314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015. \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carney, the uncle of the Black Keys’ Patrick Carney, would go on to a career spanning new wave, jazz, indie rock, experimental music and, in a \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">recent composition based on the Charleston shooting\u003c/a>, classical music. In 2014, he and nephew Patrick collaborated on the theme song to the Netflix series \u003cem>BoJack Horseman\u003c/em>.\u003c/p>\n\u003cp>“Our family and friends are all devastated. He was an immensely talented musician, deeply thoughtful and funny,” said Patrick Carney \u003ca href=\"https://pitchfork.com/news/saxophonist-ralph-carney-dead-at-61/?mbid=homepage-more-latest-and-video\" rel=\"noopener\" target=\"_blank\">in a statement\u003c/a>. “Without him I never would have listened to the music I do or even considered playing it.” On Twitter, he \u003ca href=\"https://twitter.com/patrickcarney/status/942479048177053696\" rel=\"noopener\" target=\"_blank\">added\u003c/a> that Ralph Carney “taught me so much…. he sat me down at 15 and made me \u003ca href=\"https://www.youtube.com/watch?v=XR9d4ESlpHY\" rel=\"noopener\" target=\"_blank\">listen to the Shaggs\u003c/a>. We all need an uncle like that.”\u003c/p>\n\u003cp>On saxophone, violin and other instruments, Carney reached perhaps his most appreciative audience playing with Tom Waits. As a key contributor to Waits’ reinvention in 1980s New York, Carney helped solidify a strange new direction in music alongside guitarist Marc Ribot on albums like \u003cem>Frank’s Wild Years\u003c/em> and \u003cem>Rain Dogs\u003c/em>. Though replaced in Waits’ band on recent tours, Carney appeared onstage with Waits at Bay Area concerts as recently as 1999. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In San Francisco, where he lived for 28 years before moving to Portland in 2015, Carney was a member of the Oranj Symphonette with Matt Brubeck, son of jazz legend Dave Brubeck. He also headed up the outfit Carneyball Johnson, using his multi-instrumentalist skills to great effect. Throughout his career, Carney collaborated with the B-52’s, Yo La Tengo, Jonathan Richman, They Might Be Giants, Medeski Martin & Wood, Bill Laswell, Elvis Costello, Frank Black, Les Claypool, the Black Keys and many others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 2015, after the church shooting in Charleston, South Carolina, Carney was watching TV when the shooter was arraigned. “The victims’ families were there, and they were all like, ‘I forgive you,’” Carney \u003ca href=\"https://ww2.kqed.org/arts/2016/01/23/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice/\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a>. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’” The result, “Lament for Charleston,” was performed at the Cabrillo Festival of Contemporary Music in Santa Cruz with the Kronos Quartet.\u003c/p>\n\u003cp>The cause of death, according to early reports, is related to injuries sustained in an accident. Services have not yet been announced.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Enduring, Resonant Appeal of the Sing-Along 'Messiah'",
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"content": "\u003cp>If you haven’t been to a sing-along \u003cem>Messiah\u003c/em> yet, it’s the time of year to warm up your vocal chords and find one. These performances are seasonal treats — unless you’re a musician, in which case they could be an occupational hazard.\u003c/p>\n\u003cp>But for the rest of us, there aren’t many opportunities for genuine amateurs to belt out music, in a theatre, surrounded by hundreds of people doing the same thing, backed by a professional orchestra and possibly a choir. Since \u003ca href=\"https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/\" target=\"_blank\" rel=\"noopener\">Handel’s \u003cem>Messiah\u003c/em> debut\u003c/a> in 1742, it’s proven a massive hit with crowds. At some point, those crowds wanted to sing along, and a tradition was born.\u003c/p>\n\u003cp>“It’s a unique, musically edifying — most of the time — occasion,” says Gregory Wait, music director at \u003ca href=\"https://scholacantorum.org/home\" target=\"_blank\" rel=\"noopener\">Schola Cantorum Silicon Valley\u003c/a>, which hosts its \u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">51st annual sing-along \u003cem>Messiah\u003c/em>\u003c/a> this year. That would make it the oldest sing-along \u003cem>Messiah\u003c/em> in the Bay Area.\u003c/p>\n\u003cp>“Everybody gets to kind of sing everything,” Wait says. “I jokingly ask attendees to attempt to sing them in the octave written, but that doesn’t always happen.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MessiahSingAlongforweb.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/ScholaSing2017_800x461-800x461.png\" Title=\"Sing-A-Long Messiahs A Perennial Favorite\" program=\"KQED News\"]\u003c/p>\n\u003cp>Despite the fact that \u003cem>Messiah\u003c/em> is a profoundly religious work, you don’t need to be a Christian to appreciate how fun it is to sing. As Wait says, “The music is spectacular. It has life and vibrancy and — most of the time — up tempo. I think it makes people happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This upcoming sing-along \u003cem>Messiah\u003c/em> will be Wait’s 29th. How has he survived so long? Low expectations. “If you’re reading a piece of music, say for the first time, I would prioritize the rhythm. Be at the right time in the right (place), you know, and the notes… they’ll come along.”\u003c/p>\n\u003cp>Of course, sometimes the professionals mess up, too.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=_9gBGaB5bwI]\u003c/p>\n\u003cp>(Whoever uploaded the above video graciously didn’t mention which orchestra performed it. My favorite comment: “The organist didn’t \u003ci>Handel\u003c/i> that very well.”)\u003c/p>\n\u003cp>Are you game? Here’s a list of Bay Area \u003cem>Messiah\u003c/em> sing-alongs still available.\u003c/p>\n\u003cp>\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing-Along Messiah At The Dance Palace\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Dance Palace Community & Cultural Center\u003cbr>\nVenue: Dance Palace Community Center\u003cbr>\nDate: Dec. 16, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Messiah Sing-Along\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Unitarian Universalist Church of Berkeley\u003cbr>\nVenue: Unitarian Universalist Church of Berkeley\u003cbr>\nDate: Dec. 17, 2017 6:00pm\u003cbr>\n\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Redwood Empire Sing-Along Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Santa Rosa Symphony League\u003cbr>\nVenue: Jackson Theatre\u003cbr>\nDate: Dec. 17, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing Along To Handel’s “Messiah”\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Schola Cantorum Silicon Valley\u003cbr>\nVenue: Mountain View Center for the Performing Arts\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>You-Sing-It-Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: San Jose Symphonic Choir\u003cbr>\nVenue: Cathedral Basilica of Saint Joseph, San Jose\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you haven’t been to a sing-along \u003cem>Messiah\u003c/em> yet, it’s the time of year to warm up your vocal chords and find one. These performances are seasonal treats — unless you’re a musician, in which case they could be an occupational hazard.\u003c/p>\n\u003cp>But for the rest of us, there aren’t many opportunities for genuine amateurs to belt out music, in a theatre, surrounded by hundreds of people doing the same thing, backed by a professional orchestra and possibly a choir. Since \u003ca href=\"https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/\" target=\"_blank\" rel=\"noopener\">Handel’s \u003cem>Messiah\u003c/em> debut\u003c/a> in 1742, it’s proven a massive hit with crowds. At some point, those crowds wanted to sing along, and a tradition was born.\u003c/p>\n\u003cp>“It’s a unique, musically edifying — most of the time — occasion,” says Gregory Wait, music director at \u003ca href=\"https://scholacantorum.org/home\" target=\"_blank\" rel=\"noopener\">Schola Cantorum Silicon Valley\u003c/a>, which hosts its \u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">51st annual sing-along \u003cem>Messiah\u003c/em>\u003c/a> this year. That would make it the oldest sing-along \u003cem>Messiah\u003c/em> in the Bay Area.\u003c/p>\n\u003cp>“Everybody gets to kind of sing everything,” Wait says. “I jokingly ask attendees to attempt to sing them in the octave written, but that doesn’t always happen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the fact that \u003cem>Messiah\u003c/em> is a profoundly religious work, you don’t need to be a Christian to appreciate how fun it is to sing. As Wait says, “The music is spectacular. It has life and vibrancy and — most of the time — up tempo. I think it makes people happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This upcoming sing-along \u003cem>Messiah\u003c/em> will be Wait’s 29th. How has he survived so long? Low expectations. “If you’re reading a piece of music, say for the first time, I would prioritize the rhythm. Be at the right time in the right (place), you know, and the notes… they’ll come along.”\u003c/p>\n\u003cp>Of course, sometimes the professionals mess up, too.\u003c/p>\n\u003cp>\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/_9gBGaB5bwI'\n title='//www.youtube.com/embed/_9gBGaB5bwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>(Whoever uploaded the above video graciously didn’t mention which orchestra performed it. My favorite comment: “The organist didn’t \u003ci>Handel\u003c/i> that very well.”)\u003c/p>\n\u003cp>Are you game? Here’s a list of Bay Area \u003cem>Messiah\u003c/em> sing-alongs still available.\u003c/p>\n\u003cp>\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing-Along Messiah At The Dance Palace\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Dance Palace Community & Cultural Center\u003cbr>\nVenue: Dance Palace Community Center\u003cbr>\nDate: Dec. 16, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Messiah Sing-Along\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Unitarian Universalist Church of Berkeley\u003cbr>\nVenue: Unitarian Universalist Church of Berkeley\u003cbr>\nDate: Dec. 17, 2017 6:00pm\u003cbr>\n\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Redwood Empire Sing-Along Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Santa Rosa Symphony League\u003cbr>\nVenue: Jackson Theatre\u003cbr>\nDate: Dec. 17, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing Along To Handel’s “Messiah”\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Schola Cantorum Silicon Valley\u003cbr>\nVenue: Mountain View Center for the Performing Arts\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>You-Sing-It-Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: San Jose Symphonic Choir\u003cbr>\nVenue: Cathedral Basilica of Saint Joseph, San Jose\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish",
"title": "The 10 Best Bay Area Albums of 2017: Rexx Life Raj, 'Father Figure 2: Flourish'",
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"headTitle": "The 10 Best Bay Area Albums of 2017: Rexx Life Raj, ‘Father Figure 2: Flourish’ | KQED",
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"content": "\u003cp>Growing up, Rexx Life Raj didn’t think he could sing. His family was active in the local church choir and the bar seemed too high for him, so he found an artistic outlet in rapping instead. \u003c/p>\n\u003cp>But melody has turned out to be one of the 28-year-old rapper’s most formidable strengths. On his second album, \u003cem>Father Figure 2: Flourish\u003c/em>, the Berkeley artist flashes a dexterous flow and a rich, dynamic delivery as a singer, rendering \u003cem>FF2\u003c/em> as much of an accomplishment in R&B as it is in hip-hop. \u003c/p>\n\u003cp>https://youtu.be/RfN7djUdFFY\u003c/p>\n\u003cp>Like any good Bay Area rap album, much of \u003cem>FF2\u003c/em> is predicated on a swagger that emerges from — and in spite of — struggle. But now, this rapper has found enlightenment and purpose. On “Never Had Shit,” Raj reconciles the roles of the two central figures in his life, his parents, finally making sense of advice they gave him when he was younger. Later, on “Level Up” — a horn-heavy banger backed by the Mary Jane Girls’ “All Night Long” sample — he channels his youthful rebellion into professional drive: “Now look at how the stars align / You know that it takes some time,” he sings softly before the bass drops into a bouncy, ecstatic hook. \u003c/p>\n\u003cp>Raj’s confident flair is strong on tracks like “Level Up” and “Forever Lit,” which features G-Eazy, but he’s also more than willing to show his sensitive side. On perhaps the album’s most overtly New Edition-style R&B love song, “More Than Enough,” he channels his inner Johnny Gill, convincing his girl that he’s worth the trouble (“I still don’t show emotions that I feel / Mindful of flaws that I won’t reveal / Acting like you won’t accept me when I know you will.”) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/376243595″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>FF2\u003c/em>’s production features a welcome slate of Bay Area producers who comprise one of the nation’s most overlooked and creative hip-hop scenes. Among them are largely unheralded workhorses like Ian McKee and Kyle Betty, along with rising producers Drew Banga, Mikos Da Gawd, and JULiA LEWiS (all highlighted in KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" rel=\"noopener\" target=\"_blank\">Behind the Beats\u003c/a> series). LEWiS presides over the album’s cleanest beat, on the perfectly punchy and rhythmically precise “Lowkey Lovesong.”\u003c/p>\n\u003cp>Throughout \u003cem>FF2\u003c/em>, Raj sprinkles in audio of his parents bestowing words of encouragement and wisdom. They advise him on his career, reflect on the uniqueness of the Bay Area, and affirm their support of his journey. For Raj — a former college football player and Boise State graduate — \u003cem>FF2\u003c/em> is his statement on love, loss, growing up, and the hustle it takes to rise in the ranks of one’s chosen craft. It’s a triumphant celebration of the happiness and success he’s found in striving for his goals as an artist and man. \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>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"excerpt": "On his sophomore album, the Berkeley rapper imbues dynamic flows with soulful melodies and pearls of parental wisdom. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Rexx Life Raj didn’t think he could sing. His family was active in the local church choir and the bar seemed too high for him, so he found an artistic outlet in rapping instead. \u003c/p>\n\u003cp>But melody has turned out to be one of the 28-year-old rapper’s most formidable strengths. On his second album, \u003cem>Father Figure 2: Flourish\u003c/em>, the Berkeley artist flashes a dexterous flow and a rich, dynamic delivery as a singer, rendering \u003cem>FF2\u003c/em> as much of an accomplishment in R&B as it is in hip-hop. \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/RfN7djUdFFY'\n title='//www.youtube.com/embed/RfN7djUdFFY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like any good Bay Area rap album, much of \u003cem>FF2\u003c/em> is predicated on a swagger that emerges from — and in spite of — struggle. But now, this rapper has found enlightenment and purpose. On “Never Had Shit,” Raj reconciles the roles of the two central figures in his life, his parents, finally making sense of advice they gave him when he was younger. Later, on “Level Up” — a horn-heavy banger backed by the Mary Jane Girls’ “All Night Long” sample — he channels his youthful rebellion into professional drive: “Now look at how the stars align / You know that it takes some time,” he sings softly before the bass drops into a bouncy, ecstatic hook. \u003c/p>\n\u003cp>Raj’s confident flair is strong on tracks like “Level Up” and “Forever Lit,” which features G-Eazy, but he’s also more than willing to show his sensitive side. On perhaps the album’s most overtly New Edition-style R&B love song, “More Than Enough,” he channels his inner Johnny Gill, convincing his girl that he’s worth the trouble (“I still don’t show emotions that I feel / Mindful of flaws that I won’t reveal / Acting like you won’t accept me when I know you will.”) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/376243595″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/376243595″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>FF2\u003c/em>’s production features a welcome slate of Bay Area producers who comprise one of the nation’s most overlooked and creative hip-hop scenes. Among them are largely unheralded workhorses like Ian McKee and Kyle Betty, along with rising producers Drew Banga, Mikos Da Gawd, and JULiA LEWiS (all highlighted in KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" rel=\"noopener\" target=\"_blank\">Behind the Beats\u003c/a> series). LEWiS presides over the album’s cleanest beat, on the perfectly punchy and rhythmically precise “Lowkey Lovesong.”\u003c/p>\n\u003cp>Throughout \u003cem>FF2\u003c/em>, Raj sprinkles in audio of his parents bestowing words of encouragement and wisdom. They advise him on his career, reflect on the uniqueness of the Bay Area, and affirm their support of his journey. For Raj — a former college football player and Boise State graduate — \u003cem>FF2\u003c/em> is his statement on love, loss, growing up, and the hustle it takes to rise in the ranks of one’s chosen craft. It’s a triumphant celebration of the happiness and success he’s found in striving for his goals as an artist and man. \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>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2am, the night before his wedding, when Elliott Whitehurst woke up his dad.\u003c/p>\n\u003cp>The ceremony was already set, friends and family in town. But suddenly, Whitehurst realized he was making a mistake. His dad heard him out, about how he’d wanted to make his fiancée happy but lost himself in the process. He knew it. His friends knew it. His bandmates definitely knew it.\u003c/p>\n\u003cp>Whitehurst’s dad said he understood. Hours before the ceremony, the wedding was called off.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3562985535/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>That night and the events surrounding it form the core of Trebuchet’s \u003cem>Volte-Face\u003c/em>, a gorgeous, indie-folk song cycle about growing older, trying manhood on for size, aiming to please, failing oneself, watching a love turn sour and corrosive, and ultimately choosing self-preservation. It’s not bitter, or angry, or pessimistic. It contains piano, ukeleles, shimmering guitars, and four-part harmonies galore. I surprised myself by listening to it more than any other album in 2017, each time finding new moments of beauty and calm during this year of constant terror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hailing from Petaluma, Trebuchet put out two previous records that were pleasant enough, but felt too by-the-numbers. Whitehurst, generally a quiet person, comes from a family of bold musical personalities. His sister Emily Whitehurst is best known as the distinctive singer of the pop-punk band \u003ca href=\"https://www.youtube.com/watch?v=ILUDIHIEvto\" rel=\"noopener\" target=\"_blank\">Tsunami Bomb\u003c/a>, and his older brother \u003ca href=\"http://www.loganwhitehurst.com/main.html\" rel=\"noopener\" target=\"_blank\">Logan Whitehurst\u003c/a>, who died of cancer in 2006, was a madcap genius whose clever songs captivated \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127989850\" target=\"_blank\" rel=\"noopener\">Dr. Demento\u003c/a> and the nerdier corners of the early internet. But I often wondered while listening to Trebuchet’s early recordings, “When is Elliott going to find \u003cem>his\u003c/em> voice?”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1069385722/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Volte-Face\u003c/em> is the answer, writ large. With the expert backing of Navid Manoochehri, Lauren Haile, and Paul Haile — whose background with both Fleet Foxes-esque folk forms and majestic, sweeping Explosions In The Sky-type instrumentals is evident here — the songs breathe and pulse dramatically while traversing a relationship that over-ripens and turns into something rotten. By the end, as Whitehurst lets go of all lingering guilt, a giant choir repeats the refrain “She’ll be fine,” as a mantra to washing one’s hands of another’s needs. It’s a perfect ending to the album — a huge release of liberation.\u003c/p>\n\u003cp>Elliott Whitehurst should not get married more often. \u003cem>Volte-Face\u003c/em> is a gift.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top 10 local albums of 2017 every day through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arts administrator and SF State Lecturer Tomás Riley returns as co-host on a show featuring fairy tale miracles, a bluegrass band, and the Mexican American Elvis doing a Christmas show. Miracles happen here. Click through the links below for details.\u003c/p>\n\u003cp>\u003cstrong>Dec 16-23 :\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/this-cinderella-misplaces-a-melody-not-a-glass-slipper/\" rel=\"noopener\" target=\"_blank\">The miracle of San Jose Opera’s new \u003cem>Cinderella\u003c/em>? The composer is just 12 years old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/a-black-girl-positive-cinderella/\" rel=\"noopener\" target=\"_blank\">The African American Shakespeare Company puts on a black-girl-positive version of \u003cem>Cinderella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec 28-31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/aint-nothin-but-a-good-time/\" rel=\"noopener\" target=\"_blank\">The band the Brothers Comatose makes rowdy California bluegrass fun\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 16 and Jan. 20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/an-american-procession-marching-toward-confrontation/\" rel=\"noopener\" target=\"_blank\">Artists Sandow Birk and Elyse Pignolet’s giant woodblock print is a procession of American heroes from the political right and left\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec 20 and 21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/feliz-navidad-from-the-mexican-elvis/\" rel=\"noopener\" target=\"_blank\">El Vez’s Elvis impersonation goes beyond camp to explore the Mexican-American roots of rock ‘n’ roll\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 20, 30 and Jan 10: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/san-francisco-punk-history-on-film/\" rel=\"noopener\" target=\"_blank\">Revisiting the early days of punk in films from the San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30:\u003c/strong> \u003ca href=\"http://www.teatrovision.org/departera\" target=\"_blank\" rel=\"noopener\">Teatro Visión stages a reading of a new play by poet and actor Evelina Fernández\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-17: \u003c/strong>\u003ca href=\"https://philharmonia.org/2017-2018-season/joseph-and-his-brethren/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents an alternative to the \u003cem>Messiah\u003c/em> for the holidays: Handel’s \u003cem>Joseph and His Brethren\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec 20 and 21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/feliz-navidad-from-the-mexican-elvis/\" rel=\"noopener\" target=\"_blank\">El Vez’s Elvis impersonation goes beyond camp to explore the Mexican-American roots of rock ‘n’ roll\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 20, 30 and Jan 10: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/san-francisco-punk-history-on-film/\" rel=\"noopener\" target=\"_blank\">Revisiting the early days of punk in films from the San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30:\u003c/strong> \u003ca href=\"http://www.teatrovision.org/departera\" target=\"_blank\" rel=\"noopener\">Teatro Visión stages a reading of a new play by poet and actor Evelina Fernández\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-17: \u003c/strong>\u003ca href=\"https://philharmonia.org/2017-2018-season/joseph-and-his-brethren/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents an alternative to the \u003cem>Messiah\u003c/em> for the holidays: Handel’s \u003cem>Joseph and His Brethren\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Cinderella\u003c/em>, the opera, is as miraculous as the fairy tale on which it’s based. Twelve-year-old Alma Deutscher wrote the score. She started composing the work when she was eight, and this sweet-voiced British girl is already drawing comparisons to another prodigy, Wolfgang Amadeus Mozart.\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/Q77Mv3bgqjE'\n title='//www.youtube.com/embed/Q77Mv3bgqjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Deutscher’s Cinderella got a German-language debut in Vienna last year. Now, a new version with an English-language libretto (plus extra music for choir and dancers) premieres at San Jose Opera, with Deutscher herself playing violin and piano in the orchestra. My co-host Tomás Riley notes that Deutscher shows wisdom beyond her age by creating a new kind of Cinderella, a heroine who is not only pretty, but someone of talent and intellect. In Deutscher’s version, Cinderella is a composer, and the prince — also a poet — seeks her not as the owner of a lost glass slipper, but as the composer of a melody that’s entranced him. We’re entranced. \u003ca href=\"https://www.operasj.org/tickets/cinderella/\" 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/uh8zh0W0As0'\n title='//www.youtube.com/embed/uh8zh0W0As0'\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>Toro y Moi’s Chaz Bear \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">parties with Diddy\u003c/a>, but he’s just as likely to be spotted at neighborhood cafes in Berkeley and Oakland.\u003c/p>\n\u003cp>But on \u003cem>Boo Boo\u003c/em>, his fifth and best album, the South Carolina native is lonely.\u003c/p>\n\u003cp>“My baby got fed up with my ego,” he croons in “No Show,” a keenly-crafted electropop track that’s all wistful keys and pulsing tones that clang like guilt manifest. \u003cem>Boo Boo\u003c/em>, which was recorded months before his breakup, finds Bear assessing the emotional aftermath of a relationship already on the outs. It’s his most intimate release to date.\u003c/p>\n\u003cp>https://youtu.be/9rPOuZ4vY50l\u003c/p>\n\u003cp>“You say there’s a missing piece / Are you searching for both of us?” Bear sighs on “Labyrinth” over a chain of plodding bass lines and swooning electronic washes that never really seem to interlock. “Windows,” which sounds like a hollowed-out version of one of Drake’s dancehall experiments, is overlaid with the same shade of melancholy blue that washes his album cover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/jLbpMxZwZ-c\u003c/p>\n\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it’s not all bleak: “Inside My Head” — which has an ’80s dance vibe reminiscent of Blood Orange’s kiss-off “You’re Not Good Enough” — is an ode to solitude. “Girl Like You” is as close to a pure pop hit that Bear has crafted, its wistful hook (“What’s it gonna take for a guy like me to find a girl like you?”) as sweetly sung as anything by Miguel or the One Direction boys. There’s also “Mirage,” \u003cem>Boo Boo\u003c/em>’s squiggly funk opener, which burbles and grooves like an unvarnished outtake from his 2013 album \u003cem>Anything in Return\u003c/em>.\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/jLbpMxZwZ-c'\n title='//www.youtube.com/embed/jLbpMxZwZ-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, crucially, \u003cem>Boo Boo\u003c/em> is not a breakup album, but an ode to the Bay Area community where his baby resided, where the mayor \u003ca href=\"https://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">commemorated him with a day\u003c/a> in his honor, and, really, where his distinctive voice emerged.\u003c/p>\n\u003cp>All throughout \u003cem>Boo Boo\u003c/em>, drums and synths knock with the sound of an imagined ’80s, but they just as often shift into the old-school hip-hop and R&B architecture that inspired Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em>. Toro y Moi unifies the distinct sonic aesthetics he found in the Bay Area into an adventurous bricolage of sound that appeals just as easily to hip-hop heads as it does to the KALX rock set.\u003c/p>\n\u003cp>Chaz Bear mourns a love lost on \u003cem>Boo Boo\u003c/em>, but more than anything else, the album serves as a portrait of him embracing a home that has fully embraced him back.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nina Simone, Bon Jovi, The Moody Blues, The Cars and Dire Straits — along with guitar pioneer Sister Rosetta Tharpe, with an award for early influence — have been named as next year’s inductees to the Rock and Roll Hall of Fame in Cleveland.\u003c/p>\n\u003cp>From a field of 19 nominees that included Radiohead — in its first year of eligibility — Kate Bush, Depeche Mode and The MC5, the inductees were chosen through a mix of 900 votes from members of the music industry as well as fan votes tallied in aggregate “alongside the other ballots,” as the hall \u003ca href=\"https://www.rockhall.com/class-2018-inductees\">explains\u003c/a>. Artists can be nominated 25 years after the release of their first commercial recording.\u003c/p>\n\u003cp>“I wasn’t surprised, but I was pleased,” Jon Bon Jovi \u003ca href=\"https://www.nytimes.com/2017/12/13/arts/music/rock-roll-hall-fame-bon-jovi-nina-simone-cars.html?smid=tw-nytimes&smtyp=cur\">told The New York Times\u003c/a> of his eponymous band’s induction.\u003c/p>\n\u003cp>The institution began annual inductions in 1986 at the Waldorf Astoria in New York and held the first ceremony in its Cleveland headquarters in 1997, shifting locations in-between those years. It plans, beginning next year, to \u003ca href=\"https://www.clevescene.com/scene-and-heard/archives/2016/04/08/rock-hall-president-induction-to-take-place-in-cleveland-every-other-year-beginning-in-2018\">alternate\u003c/a> between Cleveland and New York for the annual event.\u003c/p>\n\u003cp>The induction ceremony will be held April 14 in Cleveland and aired on HBO and SiriusXM. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Rock+Hall+To+Induct+Nina+Simone%2C+Bon+Jovi%2C+The+Cars%2C+Dire+Straits+And+Moody+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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