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"content": "\u003cp>It’s hard to imagine how \u003ca href=\"https://www.youtube.com/watch?v=GT-UNWGhVAU&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">MVCK\u003c/a> can be comfortably wearing a sweatshirt and knit hat right now.\u003c/p>\n\u003cp>The rapper is here working on a song in a crowded room at Different Fur Studios in San Francisco. Reading from his phone, he’s reciting, then reworking, then trying his verse again as his producer, Tim Vickers, sits in front of a monitor. Vickers stares straight ahead, occasionally giving MVCK feedback during lulls in his flow.\u003c/p>\n\u003cp>The sticky heat of hard work — and bodies squeezed into a small room — emanates from the open door. 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Vickers is one of Text Me’s 14 staff songwriters, a job title one would expect to see at one of the “big four” major labels, like Universal or Sony — certainly not an indie upstart in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13816725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-800x533.jpg\" alt=\"Text me Records founder Patrick Brown at Cafe Du Nord in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Text me Records founder Patrick Brown at Cafe Du Nord in San Francisco. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists come to us to solve a problem they can’t solve alone,” says Patrick Brown, owner of Different Fur and founder of Text Me. “Sometimes it’s not having a producer to collaborate with or songs written. Sometimes the problem is not having enough money to mix their record the way they want to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With album sales at an \u003ca href=\"https://www.billboard.com/articles/business/7430863/2016-soundscan-nielsen-music-mid-year-album-sales-sink-streaming-growth\" target=\"_blank\" rel=\"noopener\">all-time low\u003c/a>, independent artists typically don’t have the budget to cover the professional services that come with a record deal. But Text Me affords local rookie musicians a polish and professionalism they might not otherwise have access to, especially in the Bay Area — a region notorious for its lack of mainstream music industry infrastructure. It seems to be working: Mars Today’s “Cool It,” released on the label in March, recently surpassed two million plays on Spotify.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/318501823″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“The funny part about it is the label was never the original goal,” says Brown. “It’s become the thing that people know and see, but it wasn’t really supposed to be the end result of everything. It was supposed to be the side thing.”\u003c/p>\n\u003cp>Brown started his career as Different Fur’s intern in 2004, and he’s always had ideas that were a bit too big for the building. He bought said building in 2007 to save the studio from bankruptcy, for starters. He didn’t want to see it get knocked down and turned into condos, he says.\u003c/p>\n\u003cp>A few years before Text Me took shape, many people in the \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">local music community\u003c/a> bemoaned the mass exodus of musicians to cities with sturdier music industries, and the \u003ca href=\"https://www.yelp.com/biz/faultline-studios-san-francisco-2\" target=\"_blank\" rel=\"noopener\">shuttering\u003c/a> of several local recording studios in their wake. But for Brown, this was a creative catalyst rather than a hindrance. “I don’t have a lot of patience for like, ‘What do I do?,’ you know? Or like, ‘This doesn’t exist.’ Okay, well, it doesn’t exist. Go make it.”\u003c/p>\n\u003cp>The first people he tapped were Bobby Renz and Tim Vickers, two Different Fur employees who had been looking for opportunities to be more involved. Will Butler, Bobbi Rohs, Tavahn Ghazi, and Lien Do — all musicians in Different Fur’s orbit — soon followed.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339511023″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Text Me’s first official release was Mars Today’s sun-drenched pop track “Winnin,” followed by releases from R&B alchemist William Robert; measured, magnetic rapper Lord Morgan; and Bobbi Bobby, a joint project between Text Me’s two Bobbies: Bobbi Rohs and Bobby Renz. Recently, Text Me songs have found their way onto influential Spotify \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DX5VxYDK98w7B\" target=\"_blank\" rel=\"noopener\">playlists\u003c/a>: The exciting, intricate collaboration between signees \u003ca href=\"https://ww2.kqed.org/arts/2017/10/19/behind-the-beats-julia-lewis/\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a> and Elujay, “On the Regular,” landed on two of the company’s \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DX5NUxyYpdUPH\" target=\"_blank\" rel=\"noopener\">“Best of 2017”\u003c/a> lists. The roster, at this juncture, leans heavily toward R&B and hip-hop.\u003c/p>\n\u003cp>“In the hip-hop community, Different Fur is starting to become like a hub,” says studio manager Jorge Hernandez, who is also Different Fur’s go-to hip-hop engineer.\u003c/p>\n\u003cp>But it wasn’t always that way. When Hernandez started in 2011, Different Fur was serving a lot of garage rock. “It stems back to like the early ‘90s, but as far as in the Bay Area … there weren’t engineers that were solely focused on hip-hop, there weren’t studios that were built for hip-hop,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_13816726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/NEWMONKEY-800x534.jpg\" alt=\"Text Me Records engineer Jorge Hernandez (center) in a session with artists Channel Tres and 1-O.A.K. at New Monkey Studios in Van Nuys.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13816726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Text Me Records engineer Jorge Hernandez (center) in a session with artists Channel Tres and 1-O.A.K. at New Monkey Studios in Van Nuys. \u003ccite>(Demian Becerra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s so much built-in garage rock history,” says Brown, adding that studios in the region catered largely to full bands, making it hard for artists of other genres to break through. “We have a great live community here, but from a recording and production standpoint, there’s not a lot of support.”\u003c/p>\n\u003cp>Between Hernandez’s experience in local hip-hop circles and Brown’s knowledge of the genre, they began to seek out local rappers for recording. It was a marriage of personal interest and practicality — rock bands, by nature, are groups of musicians, whereas rappers and singers often operate alone. The fewer people there are in the studio, the more streamlined the recording process is for the staff.\u003c/p>\n\u003cp>“Bay Area indie rap … is in a really cool place right now,” says Brown. “Those artists seem more motivated and seem to understand how to work the industry a little better than the rock bands that have held reign here for so long.”\u003c/p>\n\u003cp>Though any job that starts with the word “staff” conjures up ideas of nine-to-five rigidity, Text Me can’t avoid the less formal features of startup life that define office culture in the area. The line between artists and songwriter is pretty permeable — Do, Rohs, and Renz are all performers-slash-songwriters for the label — and the whole songwriting process is less stringent than it might seem.\u003c/p>\n\u003cfigure id=\"attachment_13816727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-800x533.jpg\" alt=\"Seattle band SISTERS recording their album, 'Wait Don't Wait' -- Text Me Records' first release as a production company -- at Different Fur Studios. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seattle band SISTERS recording their album, ‘Wait Don’t Wait’ — Text Me Records’ first release as a production company — at Different Fur Studios. \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take MVCK, for instance, who made his formal debut this year on Caleborate’s \u003cem>Real Person\u003c/em>. Hernandez caught wind of him after Text Me producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> brought him to a session at Different Fur and immediately asked him to record. “The way the relationship started was just random,” MVCK says in between verses. “Let’s make an EP and see what we have at that point; see what we can do with it.”\u003c/p>\n\u003cp>The Text Me team takes company retreats to LA, where they hole up and writes songs for days on end. And there are free snacks — \u003ca href=\"https://www.chowhound.com/post/soylent-protein-powder-silicon-valleys-techies-1016043\" rel=\"noopener\" target=\"_blank\">Soylent\u003c/a>, even — in the break room. “It’s essentially another — I don’t want to use the word startup — but it’s essentially another startup,” says Brown. “We’re starting something new.”\u003c/p>\n\u003cp>Just like how he didn’t want Different Fur to turn into condos, Brown doesn’t want the Bay Area’s recording industry to disappear, either. That’s what Text Me is for: A springboard for Bay Area musicians to rise to the next level instead of bemoaning their lack of local options and, eventually, moving to Los Angeles or New York.\u003c/p>\n\u003cp>“The overall goal for everyone is sustainability,” Brown says. By setting artists up with a capable team, Text Me takes some of the risk out of being an independent musician in the Bay Area.\u003c/p>\n\u003cp>“The starving artist thing is a shitty cliché that people buy into,” says Brown. “And it’s a disservice to the artists and everyone involved in the making of music. We gotta end that.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine how \u003ca href=\"https://www.youtube.com/watch?v=GT-UNWGhVAU&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">MVCK\u003c/a> can be comfortably wearing a sweatshirt and knit hat right now.\u003c/p>\n\u003cp>The rapper is here working on a song in a crowded room at Different Fur Studios in San Francisco. Reading from his phone, he’s reciting, then reworking, then trying his verse again as his producer, Tim Vickers, sits in front of a monitor. Vickers stares straight ahead, occasionally giving MVCK feedback during lulls in his flow.\u003c/p>\n\u003cp>The sticky heat of hard work — and bodies squeezed into a small room — emanates from the open door. But that’s how things go at \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>, where working in whatever space is available, regardless of personal comfort, is the norm.\u003c/p>\n\u003cp>Text Me, which launched this year out of \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener\">Different Fur Studios\u003c/a>, is a new record label with potential to become San Francisco’s new pop factory. Vickers is one of Text Me’s 14 staff songwriters, a job title one would expect to see at one of the “big four” major labels, like Universal or Sony — certainly not an indie upstart in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13816725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-800x533.jpg\" alt=\"Text me Records founder Patrick Brown at Cafe Du Nord in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/PATRICK_DUNORD-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Text me Records founder Patrick Brown at Cafe Du Nord in San Francisco. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Artists come to us to solve a problem they can’t solve alone,” says Patrick Brown, owner of Different Fur and founder of Text Me. “Sometimes it’s not having a producer to collaborate with or songs written. Sometimes the problem is not having enough money to mix their record the way they want to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With album sales at an \u003ca href=\"https://www.billboard.com/articles/business/7430863/2016-soundscan-nielsen-music-mid-year-album-sales-sink-streaming-growth\" target=\"_blank\" rel=\"noopener\">all-time low\u003c/a>, independent artists typically don’t have the budget to cover the professional services that come with a record deal. But Text Me affords local rookie musicians a polish and professionalism they might not otherwise have access to, especially in the Bay Area — a region notorious for its lack of mainstream music industry infrastructure. It seems to be working: Mars Today’s “Cool It,” released on the label in March, recently surpassed two million plays on Spotify.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/318501823″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/318501823″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The funny part about it is the label was never the original goal,” says Brown. “It’s become the thing that people know and see, but it wasn’t really supposed to be the end result of everything. It was supposed to be the side thing.”\u003c/p>\n\u003cp>Brown started his career as Different Fur’s intern in 2004, and he’s always had ideas that were a bit too big for the building. He bought said building in 2007 to save the studio from bankruptcy, for starters. He didn’t want to see it get knocked down and turned into condos, he says.\u003c/p>\n\u003cp>A few years before Text Me took shape, many people in the \u003ca href=\"http://thebaybridged.com/2013/12/17/art-technology-part-i-the-state-of-the-bay-area-from-the-musicians-perspective/\" target=\"_blank\" rel=\"noopener\">local music community\u003c/a> bemoaned the mass exodus of musicians to cities with sturdier music industries, and the \u003ca href=\"https://www.yelp.com/biz/faultline-studios-san-francisco-2\" target=\"_blank\" rel=\"noopener\">shuttering\u003c/a> of several local recording studios in their wake. But for Brown, this was a creative catalyst rather than a hindrance. “I don’t have a lot of patience for like, ‘What do I do?,’ you know? Or like, ‘This doesn’t exist.’ Okay, well, it doesn’t exist. Go make it.”\u003c/p>\n\u003cp>The first people he tapped were Bobby Renz and Tim Vickers, two Different Fur employees who had been looking for opportunities to be more involved. Will Butler, Bobbi Rohs, Tavahn Ghazi, and Lien Do — all musicians in Different Fur’s orbit — soon followed.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339511023″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339511023″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Text Me’s first official release was Mars Today’s sun-drenched pop track “Winnin,” followed by releases from R&B alchemist William Robert; measured, magnetic rapper Lord Morgan; and Bobbi Bobby, a joint project between Text Me’s two Bobbies: Bobbi Rohs and Bobby Renz. Recently, Text Me songs have found their way onto influential Spotify \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DX5VxYDK98w7B\" target=\"_blank\" rel=\"noopener\">playlists\u003c/a>: The exciting, intricate collaboration between signees \u003ca href=\"https://ww2.kqed.org/arts/2017/10/19/behind-the-beats-julia-lewis/\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a> and Elujay, “On the Regular,” landed on two of the company’s \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DX5NUxyYpdUPH\" target=\"_blank\" rel=\"noopener\">“Best of 2017”\u003c/a> lists. The roster, at this juncture, leans heavily toward R&B and hip-hop.\u003c/p>\n\u003cp>“In the hip-hop community, Different Fur is starting to become like a hub,” says studio manager Jorge Hernandez, who is also Different Fur’s go-to hip-hop engineer.\u003c/p>\n\u003cp>But it wasn’t always that way. When Hernandez started in 2011, Different Fur was serving a lot of garage rock. “It stems back to like the early ‘90s, but as far as in the Bay Area … there weren’t engineers that were solely focused on hip-hop, there weren’t studios that were built for hip-hop,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_13816726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/NEWMONKEY-800x534.jpg\" alt=\"Text Me Records engineer Jorge Hernandez (center) in a session with artists Channel Tres and 1-O.A.K. at New Monkey Studios in Van Nuys.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13816726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/NEWMONKEY-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Text Me Records engineer Jorge Hernandez (center) in a session with artists Channel Tres and 1-O.A.K. at New Monkey Studios in Van Nuys. \u003ccite>(Demian Becerra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s so much built-in garage rock history,” says Brown, adding that studios in the region catered largely to full bands, making it hard for artists of other genres to break through. “We have a great live community here, but from a recording and production standpoint, there’s not a lot of support.”\u003c/p>\n\u003cp>Between Hernandez’s experience in local hip-hop circles and Brown’s knowledge of the genre, they began to seek out local rappers for recording. It was a marriage of personal interest and practicality — rock bands, by nature, are groups of musicians, whereas rappers and singers often operate alone. The fewer people there are in the studio, the more streamlined the recording process is for the staff.\u003c/p>\n\u003cp>“Bay Area indie rap … is in a really cool place right now,” says Brown. “Those artists seem more motivated and seem to understand how to work the industry a little better than the rock bands that have held reign here for so long.”\u003c/p>\n\u003cp>Though any job that starts with the word “staff” conjures up ideas of nine-to-five rigidity, Text Me can’t avoid the less formal features of startup life that define office culture in the area. The line between artists and songwriter is pretty permeable — Do, Rohs, and Renz are all performers-slash-songwriters for the label — and the whole songwriting process is less stringent than it might seem.\u003c/p>\n\u003cfigure id=\"attachment_13816727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-800x533.jpg\" alt=\"Seattle band SISTERS recording their album, 'Wait Don't Wait' -- Text Me Records' first release as a production company -- at Different Fur Studios. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13816727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/SISTERS_DIFFERENTFUR2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seattle band SISTERS recording their album, ‘Wait Don’t Wait’ — Text Me Records’ first release as a production company — at Different Fur Studios. \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take MVCK, for instance, who made his formal debut this year on Caleborate’s \u003cem>Real Person\u003c/em>. Hernandez caught wind of him after Text Me producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> brought him to a session at Different Fur and immediately asked him to record. “The way the relationship started was just random,” MVCK says in between verses. “Let’s make an EP and see what we have at that point; see what we can do with it.”\u003c/p>\n\u003cp>The Text Me team takes company retreats to LA, where they hole up and writes songs for days on end. And there are free snacks — \u003ca href=\"https://www.chowhound.com/post/soylent-protein-powder-silicon-valleys-techies-1016043\" rel=\"noopener\" target=\"_blank\">Soylent\u003c/a>, even — in the break room. “It’s essentially another — I don’t want to use the word startup — but it’s essentially another startup,” says Brown. “We’re starting something new.”\u003c/p>\n\u003cp>Just like how he didn’t want Different Fur to turn into condos, Brown doesn’t want the Bay Area’s recording industry to disappear, either. That’s what Text Me is for: A springboard for Bay Area musicians to rise to the next level instead of bemoaning their lack of local options and, eventually, moving to Los Angeles or New York.\u003c/p>\n\u003cp>“The overall goal for everyone is sustainability,” Brown says. By setting artists up with a capable team, Text Me takes some of the risk out of being an independent musician in the Bay Area.\u003c/p>\n\u003cp>“The starving artist thing is a shitty cliché that people buy into,” says Brown. “And it’s a disservice to the artists and everyone involved in the making of music. We gotta end that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "40th Annual Kennedy Center Honors Recognize Hip-Hop for the First Time",
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"content": "\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the 2017 honorees graciously shared the spotlight, some of the night’s conversation pivoted to a famous face that was noticeably missing from the ceremony. \u003ca href=\"https://www.npr.org/tags/511343536/president-trump\" target=\"_blank\" rel=\"noopener\">President Trump\u003c/a> notably did not go this year’s honors, breaking a presidential tradition of the first family attending the ceremony. President Trump announced he would be missing the ceremony back in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\" target=\"_blank\" rel=\"noopener\">August\u003c/a> after Lear and de Lavallade said they would boycott the awards if he was there. \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=40th+Annual+Kennedy+Center+Honors+Recognize+Hip-Hop+For+The+First+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 40th annual Kennedy Center Honors last night (Dec. 3) recognized those in the arts who’ve made lifetime achievements in American pop culture and ushered in some new traditions in the process. This year’s honorees were dancer/choreographer \u003ca href=\"https://www.npr.org/2014/10/28/359326972/at-83-dancer-carmen-de-lavallade-looks-back-at-a-life-spent-onstage\" target=\"_blank\" rel=\"noopener\">Carmen de Lavallade\u003c/a>, singer \u003ca href=\"https://www.npr.org/2017/10/02/554730777/shocking-omissions-gloria-estefan-and-miami-sound-machine-s-let-it-loose\" target=\"_blank\" rel=\"noopener\">Gloria Estefan\u003c/a>, rapper \u003ca href=\"https://www.npr.org/artists/15770396/ll-cool-j\" target=\"_blank\" rel=\"noopener\">LL Cool J\u003c/a>, TV writer\u003ca href=\"https://www.npr.org/2014/11/18/364985147/norman-lear-looks-back-on-his-long-life-in-even-this-i-get-to-experience\" target=\"_blank\" rel=\"noopener\"> Norman Lear\u003c/a> and singer \u003ca href=\"https://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Richie\u003c/a>.\u003c/p>\n\u003cp>LL Cool J becomes the first hip-hop artist to be recognized at the Kennedy Center Honors. In a career spanning more than three decades, the Queens-born MC helped pioneer the burgeoning rap genre, while often being cited as hip-hop’s first heartthrob. As Def Jam Recordings’ first signee, LL is best known for hits like “Mama Said Knock You Out” and “Doin’ It.”\u003c/p>\n\u003cp>Fellow golden-era rapper Queen Latifah immortalized LL on stage before he received the award. Q-Tip and The Roots members Questlove and Black Thought were in attendance for support while Busta Rhymes, DMC and DJ Z-Trip paid tribute to LL in a performance. A true chameleon in the industry, LL has earned many awards for rapping and acting, including two Grammys, but the legendary MC told NPR’s \u003ca href=\"https://www.npr.org/2017/12/04/568255235/kennedy-center-celebrates-latest-honorees-but-without-the-first-family\" target=\"_blank\" rel=\"noopener\">\u003cem>Morning Edition\u003c/em>\u003c/a>, the Kennedy Center Honors is different “because now you’re being recognized by your country.”\u003c/p>\n\u003cp>Another ‘first’ for the evening was Gloria Estefan’s induction as the first Cuban-American to receive a Kennedy Center Honor. Estefan, who’s served as front woman for the Miami Sound Machine for nearly two decades, is best known for crossover hits like “Conga” and “Get On Your Feet.” The latter song has later become the title of a Broadway production based on the singer’s life.\u003c/p>\n\u003cp>2001 honoree Quincy Jones, 1999 honoree Stevie Wonder, Kenny Rogers and Leona Lewis and paid tribute to R&B titan Lionel Richie in song, belting a rendition of his song “All Night Long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the 2017 honorees graciously shared the spotlight, some of the night’s conversation pivoted to a famous face that was noticeably missing from the ceremony. \u003ca href=\"https://www.npr.org/tags/511343536/president-trump\" target=\"_blank\" rel=\"noopener\">President Trump\u003c/a> notably did not go this year’s honors, breaking a presidential tradition of the first family attending the ceremony. President Trump announced he would be missing the ceremony back in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\" target=\"_blank\" rel=\"noopener\">August\u003c/a> after Lear and de Lavallade said they would boycott the awards if he was there. \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=40th+Annual+Kennedy+Center+Honors+Recognize+Hip-Hop+For+The+First+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Met Suspends Famed Conductor Accused of Molesting Teen For Years",
"headTitle": "Met Suspends Famed Conductor Accused of Molesting Teen For Years | KQED",
"content": "\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\n\u003cp>https://twitter.com/MetOpera/status/937139056991002624\u003c/p>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A man alleges that when he was 15, legendary conductor James Levine, then 41, began sexually abusing him. The Metropolitan Opera was reportedly aware of the allegations last year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \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=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roughly 50 elementary school kids from East Palo Alto are being treated this Sunday to a one-of-a-kind tour of \u003ca href=\"https://sfopera.com/\">SF Opera\u003c/a>, led by the famous artist and opera set designer David Hockney.\u003c/p>\n\u003cp>Following a pre-show workshop on Hockney’s set design, originally created for the opera company’s 1993 season, they’re expected to have a meet-and-greet with the artist himself before settling in for a matinee performance of \u003ci>Turandot\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://turnaroundartsca.org/\">Turnaround Arts\u003c/a>, a non-profit that pairs artists with lower performing schools, connected Hockney with the \u003ca href=\"https://costanoschool.weebly.com/about-us.html\" target=\"_blank\" rel=\"noopener\">Costaño School\u003c/a> last January. He visited the school around then and taught a couple classes on how to paint on an iPad.\u003c/p>\n\u003cp>“We’ve been really, really fortunate to have David Hockney adopt our school. It’s pretty amazing,” Angela Karamian, an arts specialist at the Costaño School, said. “The arts are relevant to everything they see in their classrooms. That’s a message I push all the time.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MyrowKidsOperaTrip.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS28235_Turandot-Act-I_David-Hockney-set_photo-Cory-Weaver-qut-800x490.jpg\" Title=\"Hockney Puts Opera Set Design on Curriculum for East Palo Alto Students\" program=\"KQED News\"]\u003c/p>\n\u003cp>The SF Opera idea came to Karamian not long ago while driving to work. She heard on the radio that the SF Opera was performing \u003cem>Turandot\u003c/em>, and that Hockney designed the sets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Malissa Shriver, who heads the California chapter of Turnaround Arts, says Hockney was game to reconnect with the kids, and bankroll a field trip to San Francisco.\u003c/p>\n\u003cp>“You know, David said to me after the first visit at Costaño, that he hadn’t been so excited and inspired in such a long time,” Shriver said.\u003c/p>\n\u003cp>“The arts bridge so many divides,” Shriver added. “You know, across language, across culture, across age. Here’s a man of 80 years old interacting and being loved by these children who are in 3rd and 4th and 5th grade, you know? I feel like in our culture, young people often don’t really have a lot of time for old people — and vice versa.”\u003c/p>\n\u003cfigure id=\"attachment_13816494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg\" alt=\"David Hockney was a hit with the children of Costaño School back in January, but then it's fair to say they were a hit with him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hockney was a hit with the children of Costaño School back in January, but then it’s fair to say they were a hit with him. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>SF Opera is also talking with the Costaño School about creating a class for 7th graders where they learn to write opera.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roughly 50 elementary school kids from East Palo Alto are being treated this Sunday to a one-of-a-kind tour of \u003ca href=\"https://sfopera.com/\">SF Opera\u003c/a>, led by the famous artist and opera set designer David Hockney.\u003c/p>\n\u003cp>Following a pre-show workshop on Hockney’s set design, originally created for the opera company’s 1993 season, they’re expected to have a meet-and-greet with the artist himself before settling in for a matinee performance of \u003ci>Turandot\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://turnaroundartsca.org/\">Turnaround Arts\u003c/a>, a non-profit that pairs artists with lower performing schools, connected Hockney with the \u003ca href=\"https://costanoschool.weebly.com/about-us.html\" target=\"_blank\" rel=\"noopener\">Costaño School\u003c/a> last January. He visited the school around then and taught a couple classes on how to paint on an iPad.\u003c/p>\n\u003cp>“We’ve been really, really fortunate to have David Hockney adopt our school. It’s pretty amazing,” Angela Karamian, an arts specialist at the Costaño School, said. “The arts are relevant to everything they see in their classrooms. That’s a message I push all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Malissa Shriver, who heads the California chapter of Turnaround Arts, says Hockney was game to reconnect with the kids, and bankroll a field trip to San Francisco.\u003c/p>\n\u003cp>“You know, David said to me after the first visit at Costaño, that he hadn’t been so excited and inspired in such a long time,” Shriver said.\u003c/p>\n\u003cp>“The arts bridge so many divides,” Shriver added. “You know, across language, across culture, across age. Here’s a man of 80 years old interacting and being loved by these children who are in 3rd and 4th and 5th grade, you know? I feel like in our culture, young people often don’t really have a lot of time for old people — and vice versa.”\u003c/p>\n\u003cfigure id=\"attachment_13816494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg\" alt=\"David Hockney was a hit with the children of Costaño School back in January, but then it's fair to say they were a hit with him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hockney was a hit with the children of Costaño School back in January, but then it’s fair to say they were a hit with him. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>SF Opera is also talking with the Costaño School about creating a class for 7th graders where they learn to write opera.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The government wants to seize Martin Shkreli’s one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>The recording that Shkreli has boasted he bought for $2 million is on a list of assets that prosecutors argue the jailed former pharmaceutical CEO should forfeit after his conviction earlier this year in a securities fraud scheme involving two failed hedge funds.\u003c/p>\n\u003cp>In a letter filed this week in Brooklyn federal court, prosecutors told a judge that Shkreli is on the hook for $7.3 million.\u003c/p>\n\u003cp>The 34-year-old “should be held financially responsible and forfeit this amount as it was obtained by him as a result of the fraud,” the letter says.\u003c/p>\n\u003cp>Along with the Wu-Tang Clan \u003cem>Once Upon a Time in Shaolin\u003c/em> album, prosecutors say Shkreli should give up $5 million in cash in a brokerage account, his interest in a pharmaceutical company and other valuables including a Picasso painting and another unreleased recording that he claims he owns, \u003cem>Tha Carter V\u003c/em> by Lil Wayne.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Defense attorney Ben Brafman said on Friday that Shkreli would fight the forfeiture.\u003c/p>\n\u003cp>“Our position is clear: None of the investors lost any money and Martin did not personally benefit from any of the counts of conviction,” Brafman said in a statement. “Accordingly, forfeiture of any assets is not an appropriate remedy.”\u003c/p>\n\u003cp>The boyish Shkreli is best known for jacking up the price of a life-saving drug and for his snide online “Pharma Bro” persona.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A judge revoked Shkreli’s $5 million bail and threw him behind bars in September after he offered a $5,000 bounty on Facebook for a strand of Hillary Clinton’s hair. He’s due back in court for sentencing early next year, when the forfeiture demand will be decided.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The government wants to seize Martin Shkreli’s one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>The recording that Shkreli has boasted he bought for $2 million is on a list of assets that prosecutors argue the jailed former pharmaceutical CEO should forfeit after his conviction earlier this year in a securities fraud scheme involving two failed hedge funds.\u003c/p>\n\u003cp>In a letter filed this week in Brooklyn federal court, prosecutors told a judge that Shkreli is on the hook for $7.3 million.\u003c/p>\n\u003cp>The 34-year-old “should be held financially responsible and forfeit this amount as it was obtained by him as a result of the fraud,” the letter says.\u003c/p>\n\u003cp>Along with the Wu-Tang Clan \u003cem>Once Upon a Time in Shaolin\u003c/em> album, prosecutors say Shkreli should give up $5 million in cash in a brokerage account, his interest in a pharmaceutical company and other valuables including a Picasso painting and another unreleased recording that he claims he owns, \u003cem>Tha Carter V\u003c/em> by Lil Wayne.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Defense attorney Ben Brafman said on Friday that Shkreli would fight the forfeiture.\u003c/p>\n\u003cp>“Our position is clear: None of the investors lost any money and Martin did not personally benefit from any of the counts of conviction,” Brafman said in a statement. “Accordingly, forfeiture of any assets is not an appropriate remedy.”\u003c/p>\n\u003cp>The boyish Shkreli is best known for jacking up the price of a life-saving drug and for his snide online “Pharma Bro” persona.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A judge revoked Shkreli’s $5 million bail and threw him behind bars in September after he offered a $5,000 bounty on Facebook for a strand of Hillary Clinton’s hair. He’s due back in court for sentencing early next year, when the forfeiture demand will be decided.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal",
"headTitle": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
"content": "\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\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/track=1284284965/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>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\u003c/p>\n\u003cp>https://youtu.be/hA2onxrh_9g\u003c/p>\n\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\u003c/p>\n\u003cp>https://youtu.be/xKVfgG8EiTQ\u003c/p>\n\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340557888″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/GB19ixZtGhQ\u003c/p>\n\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Bay Area artists open up about the emotional impact of releasing their friends' music posthumously, a year after the tragic Oakland fire. ",
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"description": "Bay Area artists open up about the emotional impact of releasing their friends' music posthumously, a year after the tragic Oakland fire. ",
"title": "Saving the Music of Ghost Ship Victims Helps Loved Ones Heal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When flames engulfed the Ghost Ship warehouse in Oakland on Dec. 2, 2016, claiming the lives of \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener noreferrer\">36 partygoers\u003c/a>, Aja Archuleta was the one working the door. Archuleta, an electronic musician who goes by the stage name \u003ca href=\"https://soundcloud.com/ajavision\" target=\"_blank\" rel=\"noopener noreferrer\">Piano Rain\u003c/a>, was scheduled to perform later that night.\u003c/p>\n\u003cp>As she saw the fire spread quickly through the building, she fled.\u003c/p>\n\u003cp>Over coffee in Oakland almost a year after the disaster, Archuleta reminisces about the numerous friends and collaborators she lost that night in the fire. Beneath her smile, her expression is tense from holding back tears. They eventually fall as she remembers \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ara-jo-a-multitalented-magnetic-personality-in-oaklands-art-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">Ara Jo\u003c/a>, the outgoing art curator who introduced her to Oakland’s underground scene; \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/joey-casio/\" target=\"_blank\" rel=\"noopener noreferrer\">Joey Casio\u003c/a>, the techno producer who taught her to use MIDI when she got her first drum machine; and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Askew\u003c/a>, the luminous synthpop musician and fellow transwoman with whom she shared a sisterly bond.\u003c/p>\n\u003cp>“Music is how I met people when I first moved here; it’s the only way I meet people,” says Archuleta, originally from Denver, Colorado. “This is the family that I have. I booked a million shows with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/micah-danemayer/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah [Danemayer]\u003c/a>; I played once with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/chelsea-faith-dolan-peerless-electronic-musician-full-of-exuberant-joy/\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea [Faith Dolan, a.k.a. Cherushii]\u003c/a>; I got to play with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/barrett-clark/\" target=\"_blank\" rel=\"noopener noreferrer\">Barrett [Clark, of Katabatik]\u003c/a> in the forest; and I met \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/ben-runnels/\" target=\"_blank\" rel=\"noopener noreferrer\">Benjamin [Runnels]\u003c/a> through \u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/nicole-denalda-renae/\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda [Renae]\u003c/a>—he was part of [her band] Introflirt, also. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a> and I met the night of the party because we were booked to play together. \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun [McCarty]\u003c/a> is an old noise friend.”\u003c/p>\n\u003cfigure id=\"attachment_13816388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg\" alt=\"Aja Archuleta archived many of the Ghost Ship victims' music in her compilation, 'U.F.O.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_2112-2-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Archuleta has archived many of the Ghost Ship victims’ music in her compilation, ‘U.F.O.’ \u003ccite>(Courtesy of Aja Archuleta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Archuleta worked through her grief in the months following the tragedy, she began the ambitious project of archiving the music of her lost loved ones. “I felt a deep calling to get my hands on as much music from everyone I knew,” she says. “Ara had just started making music and had recorded a song the week before. And some people, like Barrett, had years of songs and records from when he was a teenager. I felt like I needed to collect as much of that as I could.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The people who died in Ghost Ship were part of a tight-knit creative community that took pride in its outsider status. Many of them lived in off-the-grid warehouses; they made zines and cassettes and performed in clandestine venues for a small circle of peers. Just as many were hitting creative strides, their unfinished music and art projects came to a sudden, unexpected halt.\u003c/p>\n\u003cp>Archuleta is part of a network of loosely affiliated artists, bandmates, collaborators, mentors, and mentees working independently to archive and preserve the artistic legacies of their deceased friends. Taken together, their efforts to issue the Ghost Ship victims’ unreleased music not only serve to archive a forward-thinking, experimental scene now facing \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">evictions and crackdowns\u003c/a>—they also paint a picture of collective healing in the aftermath of the fire.\u003c/p>\n\u003ch2>Archiving the Scene\u003c/h2>\n\u003cp>Archuleta began collecting song files from the deceased with the help of friends and family in the weeks after the fire. She also dug up recordings of live performances, and revisited Voice Memos from her practice sessions with Cash Askew for their new band, Crescendo, and her collaborations with Joey Casio.\u003c/p>\n\u003cfigure id=\"attachment_12474038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12474038\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg\" alt='Cash Askew in the music video for Chasms’ “Beyond Flesh.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CashAskew.Screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Askew in the music video for Chasms’ “Beyond Flesh.” \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The result is a 23-track mixtape called \u003ca href=\"http://dublab.com/united-freaks-organization-mix-for-oakland-02-20-17/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>U.F.O.\u003c/em>\u003c/a>, or \u003cem>United Freaks Organization\u003c/em>, a project that captures the variety of music made by the artists lost in Ghost Ship: hard techno, electronic pop, house, noise, ambient. Nonprofit radio station Dublab posted the mix on their site last February, and with the help of the label Janus Sequence, she released it on cassette under her own imprint, Midnight Society. In the weeks leading up to the anniversary of the tragedy, she’s been working to get the project up on Bandcamp.\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/track=1284284965/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>Ara Jo—who played key roles in the community art space Rock Paper Scissors and Oakland’s famed First Friday art walk—is represented on the compilation with a hyperactive electro-punk song from her band HGS. “She was always the connector,” Archuleta says, adding that Jo, a bubbly, lively personality, seemed to know every interesting person and party in town. “All the rad DIY spaces, Ara knew and was already deep in. As a guide, I couldn’t have asked for anyone better.”\u003c/p>\n\u003cfigure id=\"attachment_12460907\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12460907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg\" alt=\"Ara Jo\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/AraJo2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ara Jo. \u003ccite>(Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archuleta shared a similarly effortless connection with Cash Askew, whose shoegaze-y synthpop project \u003ca href=\"https://themareustoo.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Them Are Us Too\u003c/a> was beloved in the local music scene, especially in LGBTQ circles. Prior to Askew’s death, the band was starting to get mainstream recognition; tastemaking outlets like \u003ca href=\"https://pitchfork.com/reviews/tracks/17309-them-are-us-too-us-now/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> and \u003ca href=\"https://noisey.vice.com/en_us/article/6x8d3d/them-are-us-too\" target=\"_blank\" rel=\"noopener noreferrer\">VICE\u003c/a> had written about their work. (Along with music from Crescendo and Them Are Us Too, \u003cem>U.F.O.\u003c/em> features tracks from Askew’s solo project, Prist.)\u003c/p>\n\u003cp>“I don’t remember how we met, but the second we did, there was a sisterhood bond,” says Archuleta, tears silently rolling down her cheeks. “It was a quick and deep and intimate connection, on a friendship level and on a psychic, music level.”\u003c/p>\n\u003cp>“She instantly struck me as an earth angel. I heard Them Are Us Too and I saw how she inspired a younger group of queer and trans people to be themselves and feel emotional.”\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/hA2onxrh_9g'\n title='//www.youtube.com/embed/hA2onxrh_9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then there’s Joey Casio, who Archuleta saw as a mentor and close friend. One of the more experienced artists in the scene, Casio established himself in the electronic music underground in Portland and Olympia prior to moving to Oakland. Archuleta says that he was always generous with sharing skills and helping fellow musicians. “Even when we were just hanging out, he would always be teaching me something. It was always such a natural relationship. I think that’s why I cherish every moment with Joey. Even the little moments taught me huge lessons.”\u003c/p>\n\u003cp>\u003cem>U.F.O.\u003c/em> features several of Casio’s hard techno tracks from his project Obsidian Blade, a beloved fixture at underground parties. “Obsidian Blade was such liberating dance music,” says Archuleta. “People would go wild and I think that’s what his goal was, to change the world through dance music. He inspired me to create more and inspired other people to pick up a drum machine and make some noise with it.”\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/xKVfgG8EiTQ'\n title='//www.youtube.com/embed/xKVfgG8EiTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Archuleta, Casio, and local artist Najee Renee were part of a band called Opulence, which merged techno house with ballroom and vogue music – with its origins in the New York LGBTQ night life scene – into a more “Oakland style,” as Archuleta put it.\u003c/p>\n\u003cp>Prior to his passing, Casio had been working on an album for the San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Left Hand Path\u003c/a>, which also recently released a posthumous LP by house producer Johnny Igaz, a.k.a. \u003ca href=\"https://nacktmusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nackt\u003c/a>, another artist who passed away in the Ghost Ship fire. \u003ca href=\"https://soundcloud.com/niharb\" target=\"_blank\" rel=\"noopener noreferrer\">Nihar Bhatt\u003c/a>, the co-founder of Left Hand Path, has spent the past year attempting to recover Casio’s last Obsidian Blade tracks from a failed hard drive, scouring old Facebook chats and notebooks, and consulting the artist’s friends and family with the hope of releasing a posthumous Obsidian Blade album sometime next year.\u003c/p>\n\u003cfigure id=\"attachment_13816389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg\" alt=\"Joey Casio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/joey-casio.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Casio. \u003ccite>(Suzy Poling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many people have expressed interest in helping with the project, Bhatt explains, because of Casio’s unique, fearless spirit. “There are a lot of adjectives I can think of: psychic warrior, alien mind, cosmic freak,” says Bhatt of the late artist. “He wasn’t afraid to be out there, and people really respected that.”\u003c/p>\n\u003ch2>Losing a Close Collaborator\u003c/h2>\n\u003cp>\u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> label heads Mike Daddona and Victor Vankmen unearthed tracks from artists who passed away in Ghost Ship for \u003ca href=\"https://ratskinrecords.bandcamp.com/album/v-a-rogue-pulse-gravity-collapse-benefit-compilation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ROGUE PULSE / GRAVITY COLLAPSE\u003c/em>\u003c/a>, an enormous, 185-song compilation released both digitally and as a 10-disc box set last August through their label. They had commissioned tracks for the project in the weeks prior to Ghost Ship, Daddona says, but several of the artists perished in the tragedy before they had the chance to finish their songs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/340557888″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/340557888″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We started planning the comp about two weeks before Ghost Ship,” he says, “so I was already talking to Cash [Askew] about getting a track; I was talking to Johnny [Igaz] about getting a track; I had already asked Introflirt for tracks.”\u003c/p>\n\u003cp>Ratskin Records had originally planned to release the lengthy project to raise money for \u003ca href=\"https://blacklivesmatter.com/about/herstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter\u003c/a> and \u003ca href=\"http://stjamesinfirmary.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. James Infirmary\u003c/a>. After the fire, Daddona and Vankmen decided to split the proceeds between those two organization and the Oakland Immediate Fire Relief Fund.\u003c/p>\n\u003cp>“We raised about five grand,” he says. “It was a lot of work to put together, but it wasn’t that bad.”\u003c/p>\n\u003cp>The compilation isn’t the only major—or deeply personal—project that Daddona has taken on after the tragedy. His longtime friend and bandmate Jsun McCarty was one of the 36 Ghost Ship victims, leaving Daddona with a trove of unfinished material from their noise trio, \u003ca href=\"https://coralremains.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Coral Remains\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/GB19ixZtGhQ'\n title='//www.youtube.com/embed/GB19ixZtGhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In honor of the anniversary of McCarty’s passing, with the help of friends, Daddona curated an \u003ca href=\"https://www.facebook.com/events/1614486275238404/\" target=\"_blank\" rel=\"noopener noreferrer\">exhibit of McCarty’s mixed-media artworks\u003c/a>, which runs at ProArts Gallery Dec. 1–13. In recent months, Daddona and the third member of Coral Remains, Ryan King, have devoted themselves to editing incomplete Coral Remains tracks for a final release coming in 2018. The project has evolved into a double LP, a feature-length film with footage from Coral Remains’ live shows, and a book that includes McCarty’s art and lyrics.\u003c/p>\n\u003cp>McCarty and Daddona met at San Francisco Art Institute over ten years ago, when McCarty was a grad student in the fine art department who secretly lived in his campus art studio.\u003c/p>\n\u003cp>Daddona recalls how McCarty let him stay with him at the studio for days at a time after he discovered his roommate was hiding guns and drugs in their house. “It was always like ‘Are you living here?’ and we’d be like, ‘No,'” Daddona says of their time there. “So then we’d have to go and hide the blankets. Because you couldn’t be sleeping at night there, we’d just work on stuff all night.”\u003c/p>\n\u003cfigure id=\"attachment_13816386\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/coral-remains.jpg\" alt=\"Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/coral-remains-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jsun McCarty, Ryan King, and Mike Daddona (L–R) of Coral Remains. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years that followed, the two became nearly inseparable: They lived together in various houses in San Francisco and Oakland, where they threw countless house shows, art exhibits, and other events over the years. They also worked together at a beer shop, and were in two other bands together, noise duo Nerfbau and rock outfit Saberteeth.\u003c/p>\n\u003cp>“When I met him, he was pretty obsessive about making work, but he just got more and more into music,” recalls Daddona. “It became a way for him to escape reality, because he was really bored with contemporary existence. He’d just be playing in his room for days and not come out. I’d knock on his door and be like, ‘Dude, you gotta eat, you gotta go to work.’”\u003c/p>\n\u003cp>Daddona says that in the year leading up to his death, McCarty turned his focus back to visual art.\u003c/p>\n\u003cp>“As a visual artist, aesthetic-wise, he blows a lot of people out of the water because he just put in the time,” Dadonna says. “The same way he did with music, he’d go in with these drawings and we wouldn’t see him for a week.”\u003c/p>\n\u003cp>As Coral Remains, McCarty, Daddona, and King made heavy, digitized chaos using old-school synths, drum machines, and home-made electronic instruments, including Styrofoam guitars. The band began under the name Styrofoam Sanchez, and they wore Styrofoam masks that resembled alien-like growths coming out of their bodies—a vision of “a dystopian future where human DNA would be synthesized with trash,” Daddona says.\u003c/p>\n\u003cp>“It was cool because we were able to incorporate friends and make it a fun thing,” recalls King of the band’s chaotic live shows. “It was very participatory. The most memorable performances happened here in the Bay, when we could build a huge sculpture or have other people dressed up as Styrofoam characters. The audience just kind of really took it upon themselves to also be a part, which is what I feel like made it really special.”\u003c/p>\n\u003cfigure id=\"attachment_13816387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg\" alt=\"Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1020x531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1920x1000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-1180x615.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-960x500.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o-520x271.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/24197201_1842019606039481_1490306189_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Remains performed in Styrofoam costumes as a commentary on environmental pollution. \u003ccite>(Courtesy of Ratskin Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In paying homage to McCarty with the final Coral Remains release, King and Daddona hope it will bring a sense of closure.\u003c/p>\n\u003cp>“Some of our projects ended abruptly—obviously—and without warning,” says King. “We had a lot of stuff we were working on and plans for the future. So I feel like we wanted to use this release as a way to bring it all together or wrap it up, as opposed to it being open-ended.”\u003c/p>\n\u003cp>“Working on it with Ryan has really been a blessing,” says Daddona. “I’ve tried to do a few things, but listening back by myself can be rough. Sometimes it’s fine, but an hour later after you’re done mixing, you break down.”\u003c/p>\n\u003ch2>‘A Believer in Joyful Possibilities’\u003c/h2>\n\u003cp>Ben Winans and Chelsea Faith Dolan, a.k.a. Cherushii, founded their weekly party \u003ca href=\"https://www.facebook.com/runthelength/\" target=\"_blank\" rel=\"noopener noreferrer\">Run the Length of Your Wildness\u003c/a> as a way to create more DJing opportunities for themselves and their peers. Thanks to Dolan’s upbeat personality and inviting nature, Winans recalls, the Monday-night event quickly grew into a free-spirited space where DJs, producers, and partygoers could let loose in a no-pressure environment.\u003c/p>\n\u003cp>“It’s Monday, no one’s looking. You don’t have to go crazy or be normal either,” he says. “Our party used to be me and Chelsea and one or two other people in the room, and that was when it was probably at its funnest.”\u003c/p>\n\u003cp>Before the fire, Dolan had already garnered a national following for her ebullient, colorful house music. Like others, she left behind several unfinished projects that her loved ones have carried on in her absence. Taken as a whole, her several posthumous releases demonstrate her influence’s vast reach.\u003c/p>\n\u003cp>“She was such a committed fan and believer in the sort of joyful possibilities of electronic music in a dance capacity,” says Britt Brown, co-owner of the L.A. label \u003ca href=\"http://www.listentosilk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">100% Silk\u003c/a>, which reissued Dolan’s 2015 cassette, \u003cem>Memory of Water\u003c/em>, to raise money for fire relief efforts after the tragedy.\u003c/p>\n\u003cp>Several of Dolan’s friends and collaborators recently put together the compilation \u003cem>Run the Length of Your Wildness\u003c/em>, which also features a track from Johnny Igaz, a.k.a. Nackt. The project, which L.A. label \u003ca href=\"https://hobocamp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hobo Camp\u003c/a> released on vinyl, also includes Winans’ track, “One for Cherushii,” alongside “All That’s Left” by David Last, Dolan’s boyfriend of a year and a half.\u003c/p>\n\u003cp>Before her death, Last and Dolan set up a recording studio together, \u003ca href=\"https://www.facebook.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">Last Faith Studio\u003c/a>, which Last is now turning into a \u003ca href=\"https://soundcloud.com/lastfaithstudio\" target=\"_blank\" rel=\"noopener noreferrer\">record label\u003c/a>. He recently archived and mixed some of Dolan’s unreleased tracks, and is working with her family to release them sometime next year.\u003c/p>\n\u003cp>“It’s been tough; it’s bittersweet,” says Last of working on the project. “It feels like being with Chelsea, when I’m working on her materials.”\u003c/p>\n\u003cfigure id=\"attachment_13816384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and David Last. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Chelsea_and_Me_Gorgeous.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and David Last. \u003ccite>(Courtesy of David Last)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dolan’s loved ones describe her as a generous spirit who enjoyed collaborating and mentoring younger artists. Winans, who makes music under the name \u003ca href=\"https://rochesf.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roche\u003c/a>, grew close with Dolan through a producer’s meetup group where local electronic musicians would get together to workshop tracks. They founded Run the Length of Your Wildness shortly after.\u003c/p>\n\u003cp>“It became an experimental, non-judgmental space pretty quickly, kind of through a fluke,” says Winans. The party still takes place every Monday at Underground SF in the Lower Haight. “Chelsea was definitely really supportive of the unexperienced—or anyone who needed or wanted help.”\u003c/p>\n\u003cp>“She was really focused on trying to create new kinds of music and wanted the Bay to be a place where new scenes could develop,” says Last.\u003c/p>\n\u003cfigure id=\"attachment_13816383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg\" alt=\"Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/chelsea-and-ben.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Faith Dolan (left) and Ben Winans at a Run the Length of Your Wildness party. \u003ccite>(Stephan Kral)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in that collaborative spirit, Last explains, that he plans to continue with Last Faith Studio. “I thought the best way to continue that space—and the space we were getting ready to inhabit together as a duo—was to create something new, and do what she wanted to do, and push music forward, and encourage people who maybe were very talented but needed some cheerleading to achieve their vision, or maybe needed to collaborate with others as a way to find their own voice.”\u003c/p>\n\u003cp>In addition to the \u003cem>Run the Length of Your Wildness\u003c/em> compilation and the tracks Last plans to release next year, several other people in Dolan’s community have recently put out some of her unheard work: Friend and fellow musician Eric Bateman recently released \u003cem>Into the Stars\u003c/em>, the album Dolan was working on with Easystreet, her disco-pop duo with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/09/travis-hough/\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Hough\u003c/a>, who also died in Ghost Ship.\u003c/p>\n\u003cp>“I’m happy some of her unreleased music is being issued and heard, but I can’t help but feel a lot of it is bittersweet,” says Brown. “She was frustrated more people weren’t paying attention while she was alive.”\u003c/p>\n\u003cp>Last, however, says that in the year before her death, Dolan was heartened she was getting more recognition in the electronic music world. “She knew that she was on an upward trajectory,” he says. “It’s a shame this happened before she was going to take off and fly.”\u003c/p>\n\u003cp>“Now that it’s getting closer and closer [to the anniversary], there are still wounds personally and collectively that I believe will heal in time,” says Aja Archuleta, “but it will take making more art and making more connections and staying together. I feel like building bridges is what’s gonna heal.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\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>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\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>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the Bay Area’s history as a breeding ground for heavy metal, it’s probably not a surprise that emerging local bands are continuing to find new and compelling ways to cross-pollinate metal’s many strains.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a> and \u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>, for example, are contorting black metal and death metal into unpredictable new sounds. The former band’s first LP, arriving on reliable local label The Flenser, debuted to widespread critical acclaim; the latter group’s murky, lo-fi demo tape, with its warped, unsettling sound, marks the band as one to watch.\u003c/p>\n\u003cp>Other local heavy groups, \u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a> and \u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>, offer contrasting approaches to atmospheric doom metal. Brume fuses doom’s heaviness to sprawling, psychedelic compositions, while Body Void layers its songs with abrasive noise. Perhaps the most high-concept of the doom-influenced bands included here is \u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>. Formed by members of Giant Squid, the group’s first LP is a musical re-imagining of the film \u003cem>Jaws\u003c/em>.\u003c/p>\n\u003cp>This mixtape collects new and recent music from ten local metal bands, but it really only scratches the surface of the wealth of metal talents in the Bay Area. If you like what you hear in this mix, be sure to check out the label \u003ca href=\"http://transylvaniantapes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Transylvanian Tapes\u003c/a>, which has released works from a number of the bands included here and whole bunch of others worth digging into.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all ten included bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>Track Listing\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/succumbsf/\" target=\"_blank\" rel=\"noopener\">Succumb\u003c/a>\u003c/strong> – “Survival”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Funeral-Chant-1286274381479402\" target=\"_blank\" rel=\"noopener\">Funeral Chant\u003c/a>\u003c/strong> – “Flood of Damnation”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Ails-1480944935537950/\" target=\"_blank\" rel=\"noopener\">Ails\u003c/a>\u003c/strong> – “Dead Metaphors”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/hazzardscure/\" target=\"_blank\" rel=\"noopener\">Hazzard’s Cure\u003c/a>\u003c/strong> – “Master of Heathens”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/brumeband\" target=\"_blank\" rel=\"noopener\">Brume\u003c/a>\u003c/strong> – “Call the Serpent’s Bluff”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/bodyvoid\" target=\"_blank\" rel=\"noopener\">Body Void\u003c/a>\u003c/strong> – “Swan”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/squalus.band/\" target=\"_blank\" rel=\"noopener\">Squalus\u003c/a>\u003c/strong> – “The Orca”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Cardinal-Wyrm-157603967620024/\" target=\"_blank\" rel=\"noopener\">Cardinal Wyrm\u003c/a>\u003c/strong> – “The Resonant Dead”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://akatharsia.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Akatharsia\u003c/a>\u003c/strong> – “No Generation Without Corruption”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/BadrVogu\" target=\"_blank\" rel=\"noopener\">Badr Vogu\u003c/a>\u003c/strong> – “Anathema of Time”\u003c/p>\n\n",
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"content": "\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\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>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Cuban Drummer Yissy Garcia's Genre-Bending Music",
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"content": "\u003cp>Yissy Garcia and her band Bandancha make hyphenated music that tests the limits of hyphens. It’s jazz-rock-hip-hop-fusion, with a hint of smooth jazz. She crowdfunded her new album — no small task in Cuba, with its intermittent internet connections — to avoid letting the Cuban government own the work. But what a shame that you won’t find the album on iTunes or Amazon music, though it is on Spotify. Despite the challenges, Garcia is part of an international jazz scene. She even collaborated with Joshua Bell and Dave Matthews one evening in New York. We’re just glad she’s coming to Cafe Stritch in San Jose and Ashkenaz in Berkeley. \u003ca href=\"http://yissygarcia.com/index.php/en/shows/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4A0NbEnbsto\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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"info": "",
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