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"content": "\u003cp>Noise Pop has rolled out the first phase of its musical lineup for the weeklong 2018 Noise Pop Festival early this year, an offering that makes up for the cancellation and impending relocation of its Treasure Island Music Festival — which usually takes place in mid-October.\u003c/p>\n\u003cp>The \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop Festival,\u003c/a> which kicks off its 26th iteration on Feb. 19, announced its headliners. Its top billing acts, including the likes of Oakland’s Tune-Yards and San Francisco’s Black Rebel Motorcycle Club, are among the brightest luminaries for the Bay Area’s independent music scene.\u003c/p>\n\u003cp>Other noteworthy Bay Area-based performers listed on the festival marquee include Jay Som, Geographer, WHY? and Magik*Magik Orchestra, the latter of which is pairing up with the like-minded chamber-pop group San Fermin for a rare collaborative show.\u003c/p>\n\u003cp>Noise Pop has dabbled in hip-hop, jazz, R&B and metal in recent years; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">Vince Staples, BADBADNOTGOOD, clipping. and Kelis blessed the festival’s silver anniversary last year.\u003c/a> But for its 2018 edition, they seem to be harkening not just to their Bay Area roots, but to their status as the Bay’s pre-eminent gatekeepers of indie music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cRES6Af_Wyg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was an intentional move, says Noise Pop general manager Dawson Ludwig.\u003c/p>\n\u003cp>“The Noise Pop aesthetic is rooted in the early ’90s college rock sound and bands like Superchunk will always be a staple,” Ludwig said. “But as indie has expanded to mean anything and everything that has an ineffable aesthetic, we’ve booked more acts that are both indicative of the diversity of the current community and some stalwart indie acts that are true to the classic Noise Pop lineup, which started off with Husker Du and Jawbreaker.”\u003c/p>\n\u003cp>That said, they’ve only announced two dozen acts out of the full lineup thus far; the rest is yet to be released. Ludwig expects the next three phases, which will be rolled out through January of next year, to feature acts across genre lines.\u003c/p>\n\u003cp>Noise Pop’s initial announcement boasts heavy-hitting indie acts such as Rostam, Girlpool, Superchunk and Japanese Breakfast (whose second Noise Pop Fest show in as many years comes at the heels of her stellar \u003cem>Soft Sounds from Another Planet\u003c/em>), alongside more unexpected fare like eclectic Chicano performer Cuco and post-hardcore outfit Enter Shikari.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ba44JRAjpV4\u003c/p>\n\u003cp>But of this year’s out-of-towners, the Brooklyn-based outfit Real Estate might be the act that elicits the most media attention. \u003ca href=\"https://pitchfork.com/news/real-estate-fired-guitarist-matt-mondanile-in-2016-because-he-allegedly-mistreated-women/\" target=\"_blank\" rel=\"noopener\"> Real Estate fired founding guitarist Matt Mondanile prior to the release of its 2016 album\u003cem> In Mind \u003c/em>after allegations of “his unacceptable treatment of women” came to their attention,\u003cem> \u003c/em>the band confirmed i\u003c/a>\u003ca href=\"https://pitchfork.com/news/real-estate-fired-guitarist-matt-mondanile-in-2016-because-he-allegedly-mistreated-women/\">n a statement to Pitchfork. \u003c/a>\u003c/p>\n\u003cp>“We decided that it was handled in a way on the band’s part that was separate from Matt,” says Ludwig. Real Estate’s Noise Pop gig at the Fox Theater on Feb. 24, the penultimate day of the festival, will go on.\u003c/p>\n\u003cp>Historically, tickets for the festival’s individual concerts at venues of various sizes throughout San Francisco and the East Bay, are sold concurrently with all-access passes to the larger festival. Ninety percent of shows, in effect, sell out before the festival begins.\u003c/p>\n\u003cp>This year, however, there is an emphasis on framing Noise Pop Festival as a full festival experience.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VUFr4SK1-l4\u003c/p>\n\u003cp>“If you look at it through the wrong lens, it can feel just like a set of shows,” Ludwig said. “But we want to make it a more refined experience for badgeholders. We want to make it feel like an all-out takeover of the city; the festival experience is the number one priority this year.”\u003c/p>\n\u003cp>Noise Pop is introducing an inventory system, which grants attendees the ability to hop around shows more effectively. Concertgoers can check their likelihood of getting into any given show on the Noise Pop app, and place themselves on a wait list.\u003c/p>\n\u003cp>Another change is that this year, badges for the upcoming Noise Pop Fest will grant access to the festival’s entire slate of film screenings. In previous years, badgeholders were required to purchase individual passes separately.\u003c/p>\n\u003cp>Early-bird badges to the festival are already sold out. Badges during this first phase will cost $175. With Phase 2, badge prices will rise again to an unspecified cost.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For what it’s worth, general admission badges for this year’s 25th annual Noise Pop Fest, which was their most-attended iteration to date, cost $175. These badges, Noise Pop notes in a statement, sold out. A limited number of premium “super fan badges,” which cost $399, are still available.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noise Pop has rolled out the first phase of its musical lineup for the weeklong 2018 Noise Pop Festival early this year, an offering that makes up for the cancellation and impending relocation of its Treasure Island Music Festival — which usually takes place in mid-October.\u003c/p>\n\u003cp>The \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop Festival,\u003c/a> which kicks off its 26th iteration on Feb. 19, announced its headliners. Its top billing acts, including the likes of Oakland’s Tune-Yards and San Francisco’s Black Rebel Motorcycle Club, are among the brightest luminaries for the Bay Area’s independent music scene.\u003c/p>\n\u003cp>Other noteworthy Bay Area-based performers listed on the festival marquee include Jay Som, Geographer, WHY? and Magik*Magik Orchestra, the latter of which is pairing up with the like-minded chamber-pop group San Fermin for a rare collaborative show.\u003c/p>\n\u003cp>Noise Pop has dabbled in hip-hop, jazz, R&B and metal in recent years; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">Vince Staples, BADBADNOTGOOD, clipping. and Kelis blessed the festival’s silver anniversary last year.\u003c/a> But for its 2018 edition, they seem to be harkening not just to their Bay Area roots, but to their status as the Bay’s pre-eminent gatekeepers of indie music.\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/cRES6Af_Wyg'\n title='//www.youtube.com/embed/cRES6Af_Wyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was an intentional move, says Noise Pop general manager Dawson Ludwig.\u003c/p>\n\u003cp>“The Noise Pop aesthetic is rooted in the early ’90s college rock sound and bands like Superchunk will always be a staple,” Ludwig said. “But as indie has expanded to mean anything and everything that has an ineffable aesthetic, we’ve booked more acts that are both indicative of the diversity of the current community and some stalwart indie acts that are true to the classic Noise Pop lineup, which started off with Husker Du and Jawbreaker.”\u003c/p>\n\u003cp>That said, they’ve only announced two dozen acts out of the full lineup thus far; the rest is yet to be released. Ludwig expects the next three phases, which will be rolled out through January of next year, to feature acts across genre lines.\u003c/p>\n\u003cp>Noise Pop’s initial announcement boasts heavy-hitting indie acts such as Rostam, Girlpool, Superchunk and Japanese Breakfast (whose second Noise Pop Fest show in as many years comes at the heels of her stellar \u003cem>Soft Sounds from Another Planet\u003c/em>), alongside more unexpected fare like eclectic Chicano performer Cuco and post-hardcore outfit Enter Shikari.\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/ba44JRAjpV4'\n title='//www.youtube.com/embed/ba44JRAjpV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But of this year’s out-of-towners, the Brooklyn-based outfit Real Estate might be the act that elicits the most media attention. \u003ca href=\"https://pitchfork.com/news/real-estate-fired-guitarist-matt-mondanile-in-2016-because-he-allegedly-mistreated-women/\" target=\"_blank\" rel=\"noopener\"> Real Estate fired founding guitarist Matt Mondanile prior to the release of its 2016 album\u003cem> In Mind \u003c/em>after allegations of “his unacceptable treatment of women” came to their attention,\u003cem> \u003c/em>the band confirmed i\u003c/a>\u003ca href=\"https://pitchfork.com/news/real-estate-fired-guitarist-matt-mondanile-in-2016-because-he-allegedly-mistreated-women/\">n a statement to Pitchfork. \u003c/a>\u003c/p>\n\u003cp>“We decided that it was handled in a way on the band’s part that was separate from Matt,” says Ludwig. Real Estate’s Noise Pop gig at the Fox Theater on Feb. 24, the penultimate day of the festival, will go on.\u003c/p>\n\u003cp>Historically, tickets for the festival’s individual concerts at venues of various sizes throughout San Francisco and the East Bay, are sold concurrently with all-access passes to the larger festival. Ninety percent of shows, in effect, sell out before the festival begins.\u003c/p>\n\u003cp>This year, however, there is an emphasis on framing Noise Pop Festival as a full festival experience.\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/VUFr4SK1-l4'\n title='//www.youtube.com/embed/VUFr4SK1-l4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“If you look at it through the wrong lens, it can feel just like a set of shows,” Ludwig said. “But we want to make it a more refined experience for badgeholders. We want to make it feel like an all-out takeover of the city; the festival experience is the number one priority this year.”\u003c/p>\n\u003cp>Noise Pop is introducing an inventory system, which grants attendees the ability to hop around shows more effectively. Concertgoers can check their likelihood of getting into any given show on the Noise Pop app, and place themselves on a wait list.\u003c/p>\n\u003cp>Another change is that this year, badges for the upcoming Noise Pop Fest will grant access to the festival’s entire slate of film screenings. In previous years, badgeholders were required to purchase individual passes separately.\u003c/p>\n\u003cp>Early-bird badges to the festival are already sold out. Badges during this first phase will cost $175. With Phase 2, badge prices will rise again to an unspecified cost.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For what it’s worth, general admission badges for this year’s 25th annual Noise Pop Fest, which was their most-attended iteration to date, cost $175. These badges, Noise Pop notes in a statement, sold out. A limited number of premium “super fan badges,” which cost $399, are still available.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fats Domino, Architect of Rock 'N' Roll, Dead at 89",
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"content": "\u003cp>Fats Domino, one of the architects of rock ‘n’ roll, died Tuesday at his daughter’s suburban New Orleans home. Haydee Ellis, a family friend, confirmed the news to NPR. Mark Bone, chief investigator for the Jefferson Parish coroner’s office, tells NPR that Domino, who was 89, died of natural causes.\u003c/p>\n\u003cp>In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That’s when a bandleader began calling him “Fats.” From there, it was a cakewalk to his first million-selling record — “The Fat Man.” It was Domino’s first release for Imperial Records, which signed him right off the bandstand.\u003c/p>\n\u003cp>Producer, songwriter, arranger and bandleader \u003ca href=\"https://www.rockhall.com/inductees/dave-bartholomew\" target=\"_blank\" rel=\"noopener\">Dave Bartholomew\u003c/a> was there. He described the scene in a 1981 interview now housed at the \u003ca href=\"https://jazz.tulane.edu/\" target=\"_blank\" rel=\"noopener\">Hogan Jazz Archive\u003c/a> at Tulane University. “Fats was rocking the joint,” Bartholomew said. “And he was sweating and playing, he’d put his whole heart and soul in what he was doing, and the people was crazy about him — so that was it. We made our first record, ‘The Fat Man,’ and we never turned around.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIz1cPfTRW4\u003c/p>\n\u003cp>Between 1950 and 1963, Domino hit the R&B charts a reported 59 times, and the pop charts a rollicking 63 times. He outsold Little Richard, Chuck Berry and Buddy Holly — \u003cem>combined\u003c/em>. Only Elvis Presley moved more records during that stretch — and Presley cited Domino as the early master.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So how did a black man with a fourth-grade education in the Jim Crow South, the child of Haitian Creole plantation workers and the grandson of a slave, sell more than 65 million records?\u003c/p>\n\u003cp>Domino could “wah-wah-\u003cem>waaaaah\u003c/em>” and “woo-hooo!” like nobody else in the whole wide world — and he made piano triplets ubiquitous in rock ‘n’ roll. “Blueberry Hill,” for example, was not Domino’s own song — it was first published in 1940 and had already been recorded by the likes of Glenn Miller, Gene Autry and Louis Armstrong — but Domino’s version in 1956, complete with those right-hand triplets, was unforgettable.\u003c/p>\n\u003cp>Piano player \u003ca href=\"http://www.joncleary.com/\">Jon Cleary\u003c/a> has devoted most of his life to the New Orleans sound. “The triplets thing,” he says, “that was one of the building blocks of New Orleans R&B. And that’s really the famous Fats Domino groove. Everybody knows that.”\u003c/p>\n\u003cp>And then there was Bartholomew. He and engineer \u003ca href=\"http://www.nola.com/music/index.ssf/2014/09/cosimo_matassa_new_orleans_rec.html\">Cosimo Matassa\u003c/a> perfected a rhythm-heavy sound in Matassa’s studio that was the envy of rock ‘n’ roll. “Blueberry Hill” may have been Domino’s biggest hit, but Bartholomew wrote Domino’s favorite: “Blue Monday.”\u003c/p>\n\u003cp>“Blue Monday” had other levels of meaning in Domino’s career. In the 1950s, the birth of rock ‘n’ roll was hard labor. Social critics called the music vulgar. Jim Crow laws segregated Domino’s audiences, sometimes with only a rope. And the combination of racial tension and teenage hormones at concerts proved violent: bottle-throwing, tear gas, stabbings and arrests.\u003c/p>\n\u003cp>Domino’s biographer, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/fats-domino-book-excerpt-blue-monday-fats-domino-lost-dawn-rock-n-roll/6599/\" target=\"_blank\" rel=\"noopener\">Rick Coleman\u003c/a>, says that there was a real disjunction between that era and the work that Domino was producing. “It was not an easy time period, even though the music was beautiful and joyful,” he observes. “It was a hard birth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5qz94yveXgQ\u003c/p>\n\u003cp>By 1960, Domino’s audience was overwhelmingly white. In South Carolina, the Ku Klux Klan gave his band directions — by the light of a burning cross. The late saxophone player \u003ca href=\"https://www.nytimes.com/2016/12/09/arts/music/herbert-hardesty-dead-fats-domino-saxophonist.html\">Herbert Hardesty\u003c/a> was driving the Domino bus on that occasion.\u003c/p>\n\u003cp>“So I had to make it tight,” Hardesty recounted. “In about five minutes, I came to Ku Klux Klan. They said, ‘Well, where’s Fats Domino?’ I said, ‘He’s not here.’ They said, ‘What are you guys doing?’ I said, ‘I’m lost, I’m trying to get back to the highway.’ And they were very nice — the Ku Klux Klan treated us very nice!”\u003c/p>\n\u003cp>The British Invasion sent nearly every American performer tumbling down the charts. And yet longtime confidante Ellis says that Domino wouldn’t change a note. “He said, ‘When I play,’ ” she explains, ” ‘I want the people to hear exactly what they’re used to hearing on the record.’ And eventually, that was one of the things that made him reluctant to play, let’s say. He was afraid that he would, you know, mess up a word or whatever.”\u003c/p>\n\u003cp>Domino toured for many years but eventually settled into life at his compound in the Lower Ninth Ward, cooking loads of hog’s head cheese for his many friends. Then came \u003ca href=\"http://www.npr.org/tags/125938823/hurricane-katrina\" target=\"_blank\" rel=\"noopener\">Hurricane Katrina\u003c/a> — and everybody thought he was dead.\u003c/p>\n\u003cp>“When Katrina came,” Ellis gasps, “Oh, Lord! Fats would say he wanted to leave, but he said, ‘What kind of man would I be if I left my family? They don’t want to leave.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The family survived. Domino lived out the post-Katrina years in a suburb of New Orleans with one of his eight children. But his house still stands on Caffin Avenue, in the Lower Ninth Ward, and has been \u003ca href=\"http://www.rollingstone.com/music/news/inside-rock-legend-fats-dominos-world-crawfish-cards-boogie-woogie-20160226\">restored\u003c/a> in recent years. It’s a reminder of the greatness that the neighborhood once produced, of the golden age of New Orleans music — and of what a fat man can do. \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=Fats+Domino%2C+Architect+Of+Rock+%27N%27+Roll%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fats Domino, one of the architects of rock ‘n’ roll, died Tuesday at his daughter’s suburban New Orleans home. Haydee Ellis, a family friend, confirmed the news to NPR. Mark Bone, chief investigator for the Jefferson Parish coroner’s office, tells NPR that Domino, who was 89, died of natural causes.\u003c/p>\n\u003cp>In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That’s when a bandleader began calling him “Fats.” From there, it was a cakewalk to his first million-selling record — “The Fat Man.” It was Domino’s first release for Imperial Records, which signed him right off the bandstand.\u003c/p>\n\u003cp>Producer, songwriter, arranger and bandleader \u003ca href=\"https://www.rockhall.com/inductees/dave-bartholomew\" target=\"_blank\" rel=\"noopener\">Dave Bartholomew\u003c/a> was there. He described the scene in a 1981 interview now housed at the \u003ca href=\"https://jazz.tulane.edu/\" target=\"_blank\" rel=\"noopener\">Hogan Jazz Archive\u003c/a> at Tulane University. “Fats was rocking the joint,” Bartholomew said. “And he was sweating and playing, he’d put his whole heart and soul in what he was doing, and the people was crazy about him — so that was it. We made our first record, ‘The Fat Man,’ and we never turned around.”\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/aIz1cPfTRW4'\n title='//www.youtube.com/embed/aIz1cPfTRW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Between 1950 and 1963, Domino hit the R&B charts a reported 59 times, and the pop charts a rollicking 63 times. He outsold Little Richard, Chuck Berry and Buddy Holly — \u003cem>combined\u003c/em>. Only Elvis Presley moved more records during that stretch — and Presley cited Domino as the early master.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how did a black man with a fourth-grade education in the Jim Crow South, the child of Haitian Creole plantation workers and the grandson of a slave, sell more than 65 million records?\u003c/p>\n\u003cp>Domino could “wah-wah-\u003cem>waaaaah\u003c/em>” and “woo-hooo!” like nobody else in the whole wide world — and he made piano triplets ubiquitous in rock ‘n’ roll. “Blueberry Hill,” for example, was not Domino’s own song — it was first published in 1940 and had already been recorded by the likes of Glenn Miller, Gene Autry and Louis Armstrong — but Domino’s version in 1956, complete with those right-hand triplets, was unforgettable.\u003c/p>\n\u003cp>Piano player \u003ca href=\"http://www.joncleary.com/\">Jon Cleary\u003c/a> has devoted most of his life to the New Orleans sound. “The triplets thing,” he says, “that was one of the building blocks of New Orleans R&B. And that’s really the famous Fats Domino groove. Everybody knows that.”\u003c/p>\n\u003cp>And then there was Bartholomew. He and engineer \u003ca href=\"http://www.nola.com/music/index.ssf/2014/09/cosimo_matassa_new_orleans_rec.html\">Cosimo Matassa\u003c/a> perfected a rhythm-heavy sound in Matassa’s studio that was the envy of rock ‘n’ roll. “Blueberry Hill” may have been Domino’s biggest hit, but Bartholomew wrote Domino’s favorite: “Blue Monday.”\u003c/p>\n\u003cp>“Blue Monday” had other levels of meaning in Domino’s career. In the 1950s, the birth of rock ‘n’ roll was hard labor. Social critics called the music vulgar. Jim Crow laws segregated Domino’s audiences, sometimes with only a rope. And the combination of racial tension and teenage hormones at concerts proved violent: bottle-throwing, tear gas, stabbings and arrests.\u003c/p>\n\u003cp>Domino’s biographer, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/fats-domino-book-excerpt-blue-monday-fats-domino-lost-dawn-rock-n-roll/6599/\" target=\"_blank\" rel=\"noopener\">Rick Coleman\u003c/a>, says that there was a real disjunction between that era and the work that Domino was producing. “It was not an easy time period, even though the music was beautiful and joyful,” he observes. “It was a hard birth.”\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/5qz94yveXgQ'\n title='//www.youtube.com/embed/5qz94yveXgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 1960, Domino’s audience was overwhelmingly white. In South Carolina, the Ku Klux Klan gave his band directions — by the light of a burning cross. The late saxophone player \u003ca href=\"https://www.nytimes.com/2016/12/09/arts/music/herbert-hardesty-dead-fats-domino-saxophonist.html\">Herbert Hardesty\u003c/a> was driving the Domino bus on that occasion.\u003c/p>\n\u003cp>“So I had to make it tight,” Hardesty recounted. “In about five minutes, I came to Ku Klux Klan. They said, ‘Well, where’s Fats Domino?’ I said, ‘He’s not here.’ They said, ‘What are you guys doing?’ I said, ‘I’m lost, I’m trying to get back to the highway.’ And they were very nice — the Ku Klux Klan treated us very nice!”\u003c/p>\n\u003cp>The British Invasion sent nearly every American performer tumbling down the charts. And yet longtime confidante Ellis says that Domino wouldn’t change a note. “He said, ‘When I play,’ ” she explains, ” ‘I want the people to hear exactly what they’re used to hearing on the record.’ And eventually, that was one of the things that made him reluctant to play, let’s say. He was afraid that he would, you know, mess up a word or whatever.”\u003c/p>\n\u003cp>Domino toured for many years but eventually settled into life at his compound in the Lower Ninth Ward, cooking loads of hog’s head cheese for his many friends. Then came \u003ca href=\"http://www.npr.org/tags/125938823/hurricane-katrina\" target=\"_blank\" rel=\"noopener\">Hurricane Katrina\u003c/a> — and everybody thought he was dead.\u003c/p>\n\u003cp>“When Katrina came,” Ellis gasps, “Oh, Lord! Fats would say he wanted to leave, but he said, ‘What kind of man would I be if I left my family? They don’t want to leave.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The family survived. Domino lived out the post-Katrina years in a suburb of New Orleans with one of his eight children. But his house still stands on Caffin Avenue, in the Lower Ninth Ward, and has been \u003ca href=\"http://www.rollingstone.com/music/news/inside-rock-legend-fats-dominos-world-crawfish-cards-boogie-woogie-20160226\">restored\u003c/a> in recent years. It’s a reminder of the greatness that the neighborhood once produced, of the golden age of New Orleans music — and of what a fat man can do. \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=Fats+Domino%2C+Architect+Of+Rock+%27N%27+Roll%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new nonprofit in Sonoma County is providing free music lessons to children in Santa Rosa who were affected by the fire.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.socomusiccoalition.org/\" rel=\"noopener\" target=\"_blank\">SoCo Music Coalition\u003c/a> will offer lessons \u003ca href=\"https://www.facebook.com/events/146777126066210\" rel=\"noopener\" target=\"_blank\">through the month of November\u003c/a> at its school in Santa Rosa. Normally the school’s tuition is $55 a week.\u003c/p>\n\u003cp>Noelle Nicholson and Robb Ringwald started the nonprofit SoCo Music Coalition in September with the goal of providing music lessons to any interested child, “regardless of their circumstances.” They also provide a instrument lending library so financial circumstances won’t be an issue for their students.\u003c/p>\n\u003cp>The coalition focuses on teenagers and pre-teens (ages 8-17), providing them with music lessons as well as a community. The school uses a “band format” to teach their students how to play, having them form groups with other students — the same system used by various \u003ca href=\"https://www.schoolofrock.com/\" rel=\"noopener\" target=\"_blank\">Schools of Rock\u003c/a>. \u003c/p>\n\u003cp>Nicholson says that their program can be therapeutic for teens having a hard time. Concentrating on a new skill, especially one that’s artistic, can provide a distraction for kids who might need attention that parents can’t provide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think their emotional needs can be easily overlooked during times like these,” Nicholson said. \u003c/p>\n\u003cp>The coalition also lets students take the library’s instruments home to practice, and to ensure what they’re playing works for them.\u003c/p>\n\u003cp>“Kids might think they’re guitar players but they’re really drummers. That happens often and it’s really frustrating for parents,” Nicholson said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The coalition hosts a fundraiser on Nov. 10 featuring the Seattle grunge godfathers Malfunkshun. Rossi said that if the show makes enough money, the coalition will extend the free music lessons beyond the month of November. To learn more about the program, visit the \u003ca href=\"https://www.socomusiccoalition.org/\" rel=\"noopener\" target=\"_blank\">SoCo Music Coalition website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new nonprofit in Sonoma County is providing free music lessons to children in Santa Rosa who were affected by the fire.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.socomusiccoalition.org/\" rel=\"noopener\" target=\"_blank\">SoCo Music Coalition\u003c/a> will offer lessons \u003ca href=\"https://www.facebook.com/events/146777126066210\" rel=\"noopener\" target=\"_blank\">through the month of November\u003c/a> at its school in Santa Rosa. Normally the school’s tuition is $55 a week.\u003c/p>\n\u003cp>Noelle Nicholson and Robb Ringwald started the nonprofit SoCo Music Coalition in September with the goal of providing music lessons to any interested child, “regardless of their circumstances.” They also provide a instrument lending library so financial circumstances won’t be an issue for their students.\u003c/p>\n\u003cp>The coalition focuses on teenagers and pre-teens (ages 8-17), providing them with music lessons as well as a community. The school uses a “band format” to teach their students how to play, having them form groups with other students — the same system used by various \u003ca href=\"https://www.schoolofrock.com/\" rel=\"noopener\" target=\"_blank\">Schools of Rock\u003c/a>. \u003c/p>\n\u003cp>Nicholson says that their program can be therapeutic for teens having a hard time. Concentrating on a new skill, especially one that’s artistic, can provide a distraction for kids who might need attention that parents can’t provide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think their emotional needs can be easily overlooked during times like these,” Nicholson said. \u003c/p>\n\u003cp>The coalition also lets students take the library’s instruments home to practice, and to ensure what they’re playing works for them.\u003c/p>\n\u003cp>“Kids might think they’re guitar players but they’re really drummers. That happens often and it’s really frustrating for parents,” Nicholson said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The coalition hosts a fundraiser on Nov. 10 featuring the Seattle grunge godfathers Malfunkshun. Rossi said that if the show makes enough money, the coalition will extend the free music lessons beyond the month of November. To learn more about the program, visit the \u003ca href=\"https://www.socomusiccoalition.org/\" rel=\"noopener\" target=\"_blank\">SoCo Music Coalition website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Apollo Novicio, Ken Anolin and Dino Rivera weren’t trying to change the world. Growing up in Daly City in the 1980s, they just wanted to rock parties for their friends, families and fellow Filipinos. Hauling mobile DJ setups from houses to garages to church auditoriums, the two were part of a booming scene of DJ crews and dancers who created their own subculture in a mostly forgotten corner of the Bay Area while grandma cooked the rice and adobo.\u003c/p>\n\u003cp>Fast-forward to the present day, and the \u003ca href=\"https://ww2.kqed.org/arts/2015/06/19/top-5-tracks-born-from-the-bay-areas-filipino-mobile-dj-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">turntable innovations of people like DJ Qbert, Mix Master Mike and others\u003c/a> who sprung from Daly City’s mobile DJ scene are felt everywhere in hip-hop and beyond — whether in pure technical scratch wizardry, the off-kilter production styles of J. Dilla and Madlib, or the prominence of the turntable as an individual instrument. Inspired by Oliver Wang’s essential history \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a>, KQED recently sat down with Novicio, Anolin and Rivera for a look into the roots of their musical revolution. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Apollo Novicio, Ken Anolin and Dino Rivera weren’t trying to change the world. Growing up in Daly City in the 1980s, they just wanted to rock parties for their friends, families and fellow Filipinos. Hauling mobile DJ setups from houses to garages to church auditoriums, the two were part of a booming scene of DJ crews and dancers who created their own subculture in a mostly forgotten corner of the Bay Area while grandma cooked the rice and adobo.\u003c/p>\n\u003cp>Fast-forward to the present day, and the \u003ca href=\"https://ww2.kqed.org/arts/2015/06/19/top-5-tracks-born-from-the-bay-areas-filipino-mobile-dj-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">turntable innovations of people like DJ Qbert, Mix Master Mike and others\u003c/a> who sprung from Daly City’s mobile DJ scene are felt everywhere in hip-hop and beyond — whether in pure technical scratch wizardry, the off-kilter production styles of J. Dilla and Madlib, or the prominence of the turntable as an individual instrument. Inspired by Oliver Wang’s essential history \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a>, KQED recently sat down with Novicio, Anolin and Rivera for a look into the roots of their musical revolution. \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Most days since the North Bay fire rescue operation started, Buzzy Martin has been coming to the shelter at Sonoma County Fairgrounds to play his guitar and sing for those displaced by the disaster.\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/VeltmanShelterMusic.mp3\u003c/p>\n\u003cp>“‘Zip-a-dee-doo-dah,’ is one of the big ones,” said Martin of his musical selections. Other evacuation shelter favorites include “I’ve Been Working on the Railroad,” “Lean on Me,” “Stand by Me,” and “My Girl.” The jovial musician also said he gets everybody singing along with him.\u003c/p>\n\u003cp>“I felt that it would be a good way at least for me to give something back to the community,” said Martin, who lives in Sebastopol and has a long history of performing in homeless shelters, prisons and other places where underserved communities are to be found. “I know that music heals the soul and I wanted to put some smiles on peoples’ faces.”\u003c/p>\n\u003cfigure id=\"attachment_13812363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-800x451.jpg\" alt=\"Musician Buzzy Martin entertains a passerby at a Santa Rosa shelter.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Buzzy Martin entertains a passerby at a Santa Rosa shelter. \u003ccite>(Photo: Gina Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin is among the more than 150 musicians who have volunteered their services at shelters across Sonoma County since the fires broke out late at night on Sunday, Oct. 8.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music promoter Bryce Dow-Williamson is one of the key organizers of the musical fire relief effort. He has booked both solo musicians like Martin, as well as groups, including an a cappella vocal ensemble and a brass band.\u003c/p>\n\u003cfigure id=\"attachment_13812364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812364\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-800x450.jpg\" alt=\"Music promoter Bryce Dow-Williamson organized the musical relief effort in the wake of the North Bay fires.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music promoter Bryce Dow-Williamson organized the musical relief effort in the wake of the North Bay fires. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people are feeling all the weight of the tragedy that’s happened, music as well as other comforts can become more necessary,” Dow-Williamson said.\u003c/p>\n\u003cp>Martin’s music provided a healing moment for evacuee Robert Maxwell and his dog Precious, who were sitting on a bench outside Grace Pavilion, one of the main hubs at the Sonoma County Fairground shelter location, when the troubadour came by with his guitar.\u003c/p>\n\u003cp>“We just found out she’s pregnant and we’re just having a hard time,” Maxwell said of his dog, whom he said is due to give birth in November or December.\u003c/p>\n\u003cp>Martin’s music soon soothed the sad-eyed little dog. She stopped barking, rested her chin in her paws and closed her eyes as Martin strummed and sang “Stand by Me.”\u003c/p>\n\u003cfigure id=\"attachment_13812365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-800x533.jpg\" alt=\"Buzzy Martin plays while Robert Maxwell hangs out with his dog, Precious.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buzzy Martin plays while Robert Maxwell hangs out with his dog, Precious. \u003ccite>(Photo: Gina Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It kept her calm,” Maxwell said of the song’s affect on Precious. “She fell asleep a little bit.”\u003c/p>\n\u003cp>Maxwell lost his home on Coffey Lane and said the music also helped take his mind off things. He has signed up for assistance through FEMA and doesn’t know how long he’ll be stuck at the shelter.\u003c/p>\n\u003cp>Even though the shelters around Sonoma County are emptying out as authorities are allowing evacuees to return to their homes, Dow-Williamson said he intends to continue his effort to bring healing to the community through music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Now that we’re beyond that first little bit of tension, there’s the long haul that we need to care about — the lives of people beyond survival,” Dow-Williamson said. “Now that we’re surviving, we need to thrive too.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "Musicians Soothe Evacuees at North Bay Fire Shelters | KQED",
"description": "More than 150 Sonoma musicians signed up to play and sing at shelters across the county in the wake of the devastating fires.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most days since the North Bay fire rescue operation started, Buzzy Martin has been coming to the shelter at Sonoma County Fairgrounds to play his guitar and sing for those displaced by the disaster.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“‘Zip-a-dee-doo-dah,’ is one of the big ones,” said Martin of his musical selections. Other evacuation shelter favorites include “I’ve Been Working on the Railroad,” “Lean on Me,” “Stand by Me,” and “My Girl.” The jovial musician also said he gets everybody singing along with him.\u003c/p>\n\u003cp>“I felt that it would be a good way at least for me to give something back to the community,” said Martin, who lives in Sebastopol and has a long history of performing in homeless shelters, prisons and other places where underserved communities are to be found. “I know that music heals the soul and I wanted to put some smiles on peoples’ faces.”\u003c/p>\n\u003cfigure id=\"attachment_13812363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-800x451.jpg\" alt=\"Musician Buzzy Martin entertains a passerby at a Santa Rosa shelter.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-31-e1508611491688-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Buzzy Martin entertains a passerby at a Santa Rosa shelter. \u003ccite>(Photo: Gina Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin is among the more than 150 musicians who have volunteered their services at shelters across Sonoma County since the fires broke out late at night on Sunday, Oct. 8.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music promoter Bryce Dow-Williamson is one of the key organizers of the musical fire relief effort. He has booked both solo musicians like Martin, as well as groups, including an a cappella vocal ensemble and a brass band.\u003c/p>\n\u003cfigure id=\"attachment_13812364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812364\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-800x450.jpg\" alt=\"Music promoter Bryce Dow-Williamson organized the musical relief effort in the wake of the North Bay fires.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7199-e1508611620196-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music promoter Bryce Dow-Williamson organized the musical relief effort in the wake of the North Bay fires. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people are feeling all the weight of the tragedy that’s happened, music as well as other comforts can become more necessary,” Dow-Williamson said.\u003c/p>\n\u003cp>Martin’s music provided a healing moment for evacuee Robert Maxwell and his dog Precious, who were sitting on a bench outside Grace Pavilion, one of the main hubs at the Sonoma County Fairground shelter location, when the troubadour came by with his guitar.\u003c/p>\n\u003cp>“We just found out she’s pregnant and we’re just having a hard time,” Maxwell said of his dog, whom he said is due to give birth in November or December.\u003c/p>\n\u003cp>Martin’s music soon soothed the sad-eyed little dog. She stopped barking, rested her chin in her paws and closed her eyes as Martin strummed and sang “Stand by Me.”\u003c/p>\n\u003cfigure id=\"attachment_13812365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-800x533.jpg\" alt=\"Buzzy Martin plays while Robert Maxwell hangs out with his dog, Precious.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/EvacuationCenters_SantaRosa_102017_GinaLopez_-20-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buzzy Martin plays while Robert Maxwell hangs out with his dog, Precious. \u003ccite>(Photo: Gina Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It kept her calm,” Maxwell said of the song’s affect on Precious. “She fell asleep a little bit.”\u003c/p>\n\u003cp>Maxwell lost his home on Coffey Lane and said the music also helped take his mind off things. He has signed up for assistance through FEMA and doesn’t know how long he’ll be stuck at the shelter.\u003c/p>\n\u003cp>Even though the shelters around Sonoma County are emptying out as authorities are allowing evacuees to return to their homes, Dow-Williamson said he intends to continue his effort to bring healing to the community through music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Now that we’re beyond that first little bit of tension, there’s the long haul that we need to care about — the lives of people beyond survival,” Dow-Williamson said. “Now that we’re surviving, we need to thrive too.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Solange Stuns at the Greek Theater",
"headTitle": "Solange Stuns at the Greek Theater | KQED",
"content": "\u003cp>It’s been a year since the release of Solange’s \u003cem>A Seat at the Table\u003c/em>, an album that became a spiritual salve amid the 2016 presidential election and ongoing, Black Lives Matter-led organizing against police brutality. A year later, we’re still inundated with discriminatory policies and tragic news, and \u003cem>A Seat at the Table\u003c/em> is as relevant as it ever was.\u003c/p>\n\u003cp>In promoting the album, Solange was un-abstract about \u003ca href=\"http://www.thefader.com/2016/09/27/solange-new-album-a-seat-at-the-table\" rel=\"noopener\" target=\"_blank\">its thesis\u003c/a>: “a project on identity, empowerment, independence, grief, and healing” — the central identity being the artist’s own, a black woman, mother, sister, and daughter. The critically acclaimed album gave its listeners a source of comfort in the face of hopelessness and articulated racial microaggressions that too often leave us stunned. \u003c/p>\n\u003cp>On Friday, Oct. 20, Solange brought Orion’s Rise, an immersive live experience in support of \u003cem>A Seat at the Table\u003c/em>, to a sold-out audience at the Greek Theater in Berkeley. Most of the audience members were intimately familiar with the album and this rare headlining tour was a chance to experience it publicly and communally. \u003c/p>\n\u003cp>After opening sets from Chassol and Flying Lotus, the Greek Theatre reached full capacity and it was finally time for Solange. Her set arrangement was at once celestial and post-modern. Two large pyramids — likely a reference to the Giza pyramids, \u003ca href=\"https://www.standard.co.uk/lifestyle/esmagazine/solange-knowles-on-family-body-politics-and-her-move-into-art-a3659816.html\" rel=\"noopener\" target=\"_blank\">where she recently found out she was conceived\u003c/a> — bookended steep stairs. An enormous, glowing sphere sat in the middle. Even before Solange’s band had played a single note, the stage was stunning and mesmerizing. A 20-piece orchestra dressed in light grey dripped down either side of the sphere to take their seats on the grand steps. The crowd’s anticipation was audible as they waited for Solange. \u003c/p>\n\u003cfigure id=\"attachment_13812386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9856-2-800x600.jpg\" alt=\"Solange and her band amplified her music's message with coordinated choreography. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13812386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange and her band amplified her music’s message with coordinated choreography. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bathed in red light, Solange made her entrance from above and walked down the steps with a smile on her face. She began the show with a choral rendition of “Rise,” repeating the titular refrain in escalating tones. This rendition fit the meditative song, which reflects on self-awareness and self-assurance. The night would feature many more viscerally moving elaborations of her music, which her and her band’s movement and choreography amplified. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Solange stood at the center of set wearing the same muted colors as her band. Many times during the night, she and her crew moved in sync with a compelling precision and control. This sonic and visual harmony emphasized a collective performance of her music rather than an individual one, a message also echoed in her album.\u003c/p>\n\u003cp>A few moments of spontaneity broke the synchronization as brassy horns buoyed ebullient moments where Solange danced and twerked around stage freely — a necessary physical catharsis for the heavy subject matter of her album. During “Losing You”, Solange’s danceable break-up record from her 2012 EP, \u003cem>True\u003c/em>, she asked the audience to dance with her and they had happily obliged, becoming a sea of bobbing heads and jumping bodies.\u003c/p>\n\u003cp>Reaching back into her catalogue again, Solange performed the languid ballad “Bad Girls,” also from \u003cem>True\u003c/em>, with an unexpected punk twist. For “Mad,” a powerful song from \u003cem>A Seat at the Table\u003c/em> that affirms black rage, she added a refrain for emphasis. “I’m not, I’m not allowed I be mad. But you are allowed to be mad,” she sang. “And I deserve and you deserve, but I’m not allowed to be mad. And isn’t that sad?”\u003c/p>\n\u003cp>Earlier in the show, Solange paused to acknowledge a recent incident that angered her. “When I ask folks not to touch my hair, and then [expletive] touch my hair!” she explained to the audience. Her comments were in reference to the \u003cem>Evening Standard\u003c/em>, a British weekly magazine that Photoshopped her hair out of a cover photo. In the unaltered version of the photo Solange posted on \u003ca href=\"https://www.instagram.com/p/Bab6yVZhESx/?taken-by=saintrecords\" rel=\"noopener\" target=\"_blank\">Instagram\u003c/a>, she looks regal with a circular braid extending above her head, her ears adorned with oversized, swirling pearl hoops. She captioned it “dtmh @eveningstandardmagazine,” with the acronym for “Don’t Touch My Hair”. The editors reasoned that the edits were for \u003ca href=\"https://www.theguardian.com/music/2017/oct/21/evening-standard-sorry-for-airbrushing-out-solange-knowles-braids\" rel=\"noopener\" target=\"_blank\">“layout purposes”\u003c/a> in an apology to the singer, but it was clear that they hadn’t grasped the song’s message. \u003c/p>\n\u003cp>Solange and her band rushed off stage momentarily but returned for an epilogue, closing the show with “Don’t Touch My Hair,” an anthem of sorts for black women who know too well the feeling of being physically examined by strangers. Oddly enough — as I also witnessed when Solange performed at Outside Lands and FYF — non-black folks sang along even though the song’s lyrics are specific to this experience. It was even odder when non-black audience members sang along to “F.U.B.U.”, a song with the refrain, “This sh-t is for us.” “Don’t be mad if you can’t sing along,” Solange sings, further warning, “Some sh-t you can’t touch.” But, nonetheless, that didn’t detract from the celebratory energy and communal solace that Solange’s show brought the black women in attendance.\u003c/p>\n\u003cp>It felt uncanny that Orion’s Rise arrived at Berkeley’s Greek Theater the same weekend as the peak of the Orionid meteor shower. Solange acknowledged the Orionids when she thanked her fans, adding that it was divine destiny that she’s closing Orion’s Rise on a weekend that meteoroids from Orion radiate across the sky. \u003c/p>\n\u003cp>Felicitous as the timing might have been, it’s not unimaginable that Solange, an artist so intentional and diligent, wouldn’t also forecast the stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Solange performs again on Oct. 22 at the Greek Theater. More info \u003ca href=\"http://apeconcerts.com/events/solange-2/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a year since the release of Solange’s \u003cem>A Seat at the Table\u003c/em>, an album that became a spiritual salve amid the 2016 presidential election and ongoing, Black Lives Matter-led organizing against police brutality. A year later, we’re still inundated with discriminatory policies and tragic news, and \u003cem>A Seat at the Table\u003c/em> is as relevant as it ever was.\u003c/p>\n\u003cp>In promoting the album, Solange was un-abstract about \u003ca href=\"http://www.thefader.com/2016/09/27/solange-new-album-a-seat-at-the-table\" rel=\"noopener\" target=\"_blank\">its thesis\u003c/a>: “a project on identity, empowerment, independence, grief, and healing” — the central identity being the artist’s own, a black woman, mother, sister, and daughter. The critically acclaimed album gave its listeners a source of comfort in the face of hopelessness and articulated racial microaggressions that too often leave us stunned. \u003c/p>\n\u003cp>On Friday, Oct. 20, Solange brought Orion’s Rise, an immersive live experience in support of \u003cem>A Seat at the Table\u003c/em>, to a sold-out audience at the Greek Theater in Berkeley. Most of the audience members were intimately familiar with the album and this rare headlining tour was a chance to experience it publicly and communally. \u003c/p>\n\u003cp>After opening sets from Chassol and Flying Lotus, the Greek Theatre reached full capacity and it was finally time for Solange. Her set arrangement was at once celestial and post-modern. Two large pyramids — likely a reference to the Giza pyramids, \u003ca href=\"https://www.standard.co.uk/lifestyle/esmagazine/solange-knowles-on-family-body-politics-and-her-move-into-art-a3659816.html\" rel=\"noopener\" target=\"_blank\">where she recently found out she was conceived\u003c/a> — bookended steep stairs. An enormous, glowing sphere sat in the middle. Even before Solange’s band had played a single note, the stage was stunning and mesmerizing. A 20-piece orchestra dressed in light grey dripped down either side of the sphere to take their seats on the grand steps. The crowd’s anticipation was audible as they waited for Solange. \u003c/p>\n\u003cfigure id=\"attachment_13812386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9856-2-800x600.jpg\" alt=\"Solange and her band amplified her music's message with coordinated choreography. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13812386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange and her band amplified her music’s message with coordinated choreography. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bathed in red light, Solange made her entrance from above and walked down the steps with a smile on her face. She began the show with a choral rendition of “Rise,” repeating the titular refrain in escalating tones. This rendition fit the meditative song, which reflects on self-awareness and self-assurance. The night would feature many more viscerally moving elaborations of her music, which her and her band’s movement and choreography amplified. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Solange stood at the center of set wearing the same muted colors as her band. Many times during the night, she and her crew moved in sync with a compelling precision and control. This sonic and visual harmony emphasized a collective performance of her music rather than an individual one, a message also echoed in her album.\u003c/p>\n\u003cp>A few moments of spontaneity broke the synchronization as brassy horns buoyed ebullient moments where Solange danced and twerked around stage freely — a necessary physical catharsis for the heavy subject matter of her album. During “Losing You”, Solange’s danceable break-up record from her 2012 EP, \u003cem>True\u003c/em>, she asked the audience to dance with her and they had happily obliged, becoming a sea of bobbing heads and jumping bodies.\u003c/p>\n\u003cp>Reaching back into her catalogue again, Solange performed the languid ballad “Bad Girls,” also from \u003cem>True\u003c/em>, with an unexpected punk twist. For “Mad,” a powerful song from \u003cem>A Seat at the Table\u003c/em> that affirms black rage, she added a refrain for emphasis. “I’m not, I’m not allowed I be mad. But you are allowed to be mad,” she sang. “And I deserve and you deserve, but I’m not allowed to be mad. And isn’t that sad?”\u003c/p>\n\u003cp>Earlier in the show, Solange paused to acknowledge a recent incident that angered her. “When I ask folks not to touch my hair, and then [expletive] touch my hair!” she explained to the audience. Her comments were in reference to the \u003cem>Evening Standard\u003c/em>, a British weekly magazine that Photoshopped her hair out of a cover photo. In the unaltered version of the photo Solange posted on \u003ca href=\"https://www.instagram.com/p/Bab6yVZhESx/?taken-by=saintrecords\" rel=\"noopener\" target=\"_blank\">Instagram\u003c/a>, she looks regal with a circular braid extending above her head, her ears adorned with oversized, swirling pearl hoops. She captioned it “dtmh @eveningstandardmagazine,” with the acronym for “Don’t Touch My Hair”. The editors reasoned that the edits were for \u003ca href=\"https://www.theguardian.com/music/2017/oct/21/evening-standard-sorry-for-airbrushing-out-solange-knowles-braids\" rel=\"noopener\" target=\"_blank\">“layout purposes”\u003c/a> in an apology to the singer, but it was clear that they hadn’t grasped the song’s message. \u003c/p>\n\u003cp>Solange and her band rushed off stage momentarily but returned for an epilogue, closing the show with “Don’t Touch My Hair,” an anthem of sorts for black women who know too well the feeling of being physically examined by strangers. Oddly enough — as I also witnessed when Solange performed at Outside Lands and FYF — non-black folks sang along even though the song’s lyrics are specific to this experience. It was even odder when non-black audience members sang along to “F.U.B.U.”, a song with the refrain, “This sh-t is for us.” “Don’t be mad if you can’t sing along,” Solange sings, further warning, “Some sh-t you can’t touch.” But, nonetheless, that didn’t detract from the celebratory energy and communal solace that Solange’s show brought the black women in attendance.\u003c/p>\n\u003cp>It felt uncanny that Orion’s Rise arrived at Berkeley’s Greek Theater the same weekend as the peak of the Orionid meteor shower. Solange acknowledged the Orionids when she thanked her fans, adding that it was divine destiny that she’s closing Orion’s Rise on a weekend that meteoroids from Orion radiate across the sky. \u003c/p>\n\u003cp>Felicitous as the timing might have been, it’s not unimaginable that Solange, an artist so intentional and diligent, wouldn’t also forecast the stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Solange performs again on Oct. 22 at the Greek Theater. More info \u003ca href=\"http://apeconcerts.com/events/solange-2/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A",
"headTitle": "Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A | KQED",
"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gtzefLBravg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "What if you love the Bay, but opportunities pull you to Los Angeles? Producers Trackademicks, Cal-A and 1-O.A.K. are among those who've decided to make the move.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \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/gtzefLBravg'\n title='//www.youtube.com/embed/gtzefLBravg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By early next year, Oakland will be home to new a record pressing plant, the first of its kind in the city since the \u003ca href=\"http://www.gracyk.com/oakland.shtml\" rel=\"noopener\" target=\"_blank\">Victor Records plant\u003c/a> closed in 1935. \u003c/p>\n\u003cp>\u003ca href=\"http://www.secondlinevinyl.com/\" rel=\"noopener\" target=\"_blank\">Second Line Vinyl\u003c/a> has ordered a new vinyl record press, which is expected to arrive by February of 2018, according to Second Line CEO Zane Howard. The company plans to buy five more presses by the end of next year. With six presses working full time, Howard estimates the plant, called Bump Town, will be able to manufacture 2 million records a year.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/OaklandRecordPlant.mp3\" title=\"Oakland Getting a Record Plant\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/BumpTown_Exterior-Rendering2-800x450.jpg\"]\u003c/p>\n\u003cp>The new press couldn’t come sooner. There’s currently about a dozen vinyl pressing plants in the U.S., and for smaller, independent labels, it takes an estimated four to six months for an order to be filled. And records continue to \u003ca href=\"https://www.theguardian.com/music/2017/jan/03/record-sales-vinyl-hits-25-year-high-and-outstrips-streaming\" rel=\"noopener\" target=\"_blank\">post year-over-year sales gains\u003c/a>, despite articles predicting the \u003ca href=\"https://www.wsj.com/articles/why-vinyls-boom-is-over-1500721202\" rel=\"noopener\" target=\"_blank\">end of the “vinyl boom.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-800x463.jpg\" alt=\"The new record press being built for Bump Town\" width=\"800\" height=\"463\" class=\"size-medium wp-image-13812089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-800x463.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-1180x683.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-520x301.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new record press being built for Bump Town \u003ccite>(Courtesy of Zane Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you Google ‘end of vinyl boom,’ you’ll see that an article with that exact sentence has been published every year for the past five years,” Howard says. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Howard, 44, worked for Del Monte Foods in branding and product development before quitting to start Second Line Vinyl in July 2016. A longtime music fan, Howard says he was always looking for an opportunity to follow his passion. After buying and listening to a vinyl single from the band Drag The River, he says, he was reminded of what made him love the medium so much. It not only ignited a desire to collect records, it gave him an idea for a new business.\u003c/p>\n\u003cp>“When I saw that vinyl manufacturing was coming back, and did some research, I found out there was really no modern manufacturer of vinyl records. I thought there was a big opportunity there,” Howard says. \u003c/p>\n\u003cfigure id=\"attachment_13812088\" class=\"wp-caption alignright\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/profile-pic-black.jpg\" alt=\"Second Line Vinyl founder and CEO Zane Howard\" width=\"795\" height=\"738\" class=\"size-full wp-image-13812088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-520x483.jpg 520w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Second Line Vinyl founder and CEO Zane Howard. \u003ccite>(Courtesy of Zane Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Second Line Vinyl, Howard doesn’t want to focus solely on manufacturing records. His company plans to open Bump Town in one of the long-dormant factory warehouses on Mandela Parkway in West Oakland — a throwback to the city’s past as a \u003ca href=\"http://www.foundsf.org/index.php?title=Oakland_Rising:_The_Industrialization_of_Alameda_County\" rel=\"noopener\" target=\"_blank\">manufacturing hub for the west coast\u003c/a>. Within the 40,000-sq. ft space, Howard wants to build a one-stop-shop for independent labels wanting to press records. The process for making records involves many steps, such as mastering, cutting lacquers and plating, and few record plants offer all services in-house. Piper Payne, Second Line’s Chief Product Officer, currently runs \u003ca href=\"http://www.piperpayne.com/mastering/\" rel=\"noopener\" target=\"_blank\">Neato Mastering\u003c/a> in San Francisco, and is expected to provide mastering, lacquer cutting and quality control when the plant is fully operational.\u003c/p>\n\u003cp>“The idea is to add the lacquer-cutting and plating in house, so we can control the whole process. It gives us not only control over quality from end-to-end, but in controls the timing of it and the cost,” Howard says.\u003c/p>\n\u003cp>Howard says Second Line is also looking to develop new materials for record production that are cheaper, lighter and safer for the environment than vinyl. They’ve already developed a new, more cost-effective process for manufacturing \u003ca href=\"https://www.rarerecords.net/record-info/picture-discs/\" rel=\"noopener\" target=\"_blank\">picture discs.\u003c/a> \u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue planned for Bump Town\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue planned for Bump Town \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The company also plans to convert a section of the large warehouse space into a live music venue. Howard says they want Bump Town to be a place where musicians can feel part of the Oakland community. (“Bump Town” is a combination of the Tower of Power album \u003ci>Bump City\u003c/i> and “The Town,” a local nickname for Oakland.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We wanted something that represented the vibrancy of the town and its music scene,” Howard says. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By early next year, Oakland will be home to new a record pressing plant, the first of its kind in the city since the \u003ca href=\"http://www.gracyk.com/oakland.shtml\" rel=\"noopener\" target=\"_blank\">Victor Records plant\u003c/a> closed in 1935. \u003c/p>\n\u003cp>\u003ca href=\"http://www.secondlinevinyl.com/\" rel=\"noopener\" target=\"_blank\">Second Line Vinyl\u003c/a> has ordered a new vinyl record press, which is expected to arrive by February of 2018, according to Second Line CEO Zane Howard. The company plans to buy five more presses by the end of next year. With six presses working full time, Howard estimates the plant, called Bump Town, will be able to manufacture 2 million records a year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new press couldn’t come sooner. There’s currently about a dozen vinyl pressing plants in the U.S., and for smaller, independent labels, it takes an estimated four to six months for an order to be filled. And records continue to \u003ca href=\"https://www.theguardian.com/music/2017/jan/03/record-sales-vinyl-hits-25-year-high-and-outstrips-streaming\" rel=\"noopener\" target=\"_blank\">post year-over-year sales gains\u003c/a>, despite articles predicting the \u003ca href=\"https://www.wsj.com/articles/why-vinyls-boom-is-over-1500721202\" rel=\"noopener\" target=\"_blank\">end of the “vinyl boom.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-800x463.jpg\" alt=\"The new record press being built for Bump Town\" width=\"800\" height=\"463\" class=\"size-medium wp-image-13812089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-800x463.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-1180x683.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/new-press-made-by-donny-520x301.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The new record press being built for Bump Town \u003ccite>(Courtesy of Zane Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you Google ‘end of vinyl boom,’ you’ll see that an article with that exact sentence has been published every year for the past five years,” Howard says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Howard, 44, worked for Del Monte Foods in branding and product development before quitting to start Second Line Vinyl in July 2016. A longtime music fan, Howard says he was always looking for an opportunity to follow his passion. After buying and listening to a vinyl single from the band Drag The River, he says, he was reminded of what made him love the medium so much. It not only ignited a desire to collect records, it gave him an idea for a new business.\u003c/p>\n\u003cp>“When I saw that vinyl manufacturing was coming back, and did some research, I found out there was really no modern manufacturer of vinyl records. I thought there was a big opportunity there,” Howard says. \u003c/p>\n\u003cfigure id=\"attachment_13812088\" class=\"wp-caption alignright\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/profile-pic-black.jpg\" alt=\"Second Line Vinyl founder and CEO Zane Howard\" width=\"795\" height=\"738\" class=\"size-full wp-image-13812088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-240x223.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-375x348.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/profile-pic-black-520x483.jpg 520w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Second Line Vinyl founder and CEO Zane Howard. \u003ccite>(Courtesy of Zane Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Second Line Vinyl, Howard doesn’t want to focus solely on manufacturing records. His company plans to open Bump Town in one of the long-dormant factory warehouses on Mandela Parkway in West Oakland — a throwback to the city’s past as a \u003ca href=\"http://www.foundsf.org/index.php?title=Oakland_Rising:_The_Industrialization_of_Alameda_County\" rel=\"noopener\" target=\"_blank\">manufacturing hub for the west coast\u003c/a>. Within the 40,000-sq. ft space, Howard wants to build a one-stop-shop for independent labels wanting to press records. The process for making records involves many steps, such as mastering, cutting lacquers and plating, and few record plants offer all services in-house. Piper Payne, Second Line’s Chief Product Officer, currently runs \u003ca href=\"http://www.piperpayne.com/mastering/\" rel=\"noopener\" target=\"_blank\">Neato Mastering\u003c/a> in San Francisco, and is expected to provide mastering, lacquer cutting and quality control when the plant is fully operational.\u003c/p>\n\u003cp>“The idea is to add the lacquer-cutting and plating in house, so we can control the whole process. It gives us not only control over quality from end-to-end, but in controls the timing of it and the cost,” Howard says.\u003c/p>\n\u003cp>Howard says Second Line is also looking to develop new materials for record production that are cheaper, lighter and safer for the environment than vinyl. They’ve already developed a new, more cost-effective process for manufacturing \u003ca href=\"https://www.rarerecords.net/record-info/picture-discs/\" rel=\"noopener\" target=\"_blank\">picture discs.\u003c/a> \u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue planned for Bump Town\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue planned for Bump Town \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The company also plans to convert a section of the large warehouse space into a live music venue. Howard says they want Bump Town to be a place where musicians can feel part of the Oakland community. (“Bump Town” is a combination of the Tower of Power album \u003ci>Bump City\u003c/i> and “The Town,” a local nickname for Oakland.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We wanted something that represented the vibrancy of the town and its music scene,” Howard says. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mykki Blanco Talks 'No Leash' and Returning to Trump's America",
"headTitle": "Mykki Blanco Talks ‘No Leash’ and Returning to Trump’s America | KQED",
"content": "\u003cp>\u003ca href=\"https://soundcloud.com/mykkiblanco\" target=\"_blank\" rel=\"noopener\">Mykki Blanco\u003c/a> has been at the center of conversations surrounding hip-hop and queerness since 2012, but two years ago, the gender non-conforming rapper \u003ca href=\"https://pitchfork.com/news/58965-mykki-blanco-quitting-music-to-pursue-investigative-journalism/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> a hiatus from music to pursue investigative journalism. Fortunately for fans, Blanco still dropped three projects after the announcement: The industrial, punk-inflected \u003cem>Mykki Blanco and the Mutant Angels\u003c/em>; the experimental compilation \u003cem>C-ORE\u003c/em>, which featured tracks by Yves Tumor and Psychoegyptian; and the self-titled 2016 album \u003cem>Mykki\u003c/em>, a psychedelic patchwork of tracks with a pop-trap backbone.\u003c/p>\n\u003cp>But Blanco has kept busy with other creative endeavors: His new mini-documentary series on i-D, \u003ca href=\"https://i-d.vice.com/en_us/article/43a57j/out-of-this-world-i-d-meets-mykki-blanco\" target=\"_blank\" rel=\"noopener\">\u003cem>Out of This World\u003c/em>\u003c/a>, shines a light on queer communities around the world, with a debut episode about Johannesburg, South Africa. He’s also finally unveiling a short film in which he starred in 2015, \u003cem>No Leash\u003c/em>, which was commissioned by the high-end streetwear brand Hood By Air and directed by Cody Critcheloe of the band SSION.\u003c/p>\n\u003cp>\u003ca href=\"https://www.highsnobiety.com/2017/04/25/hood-by-air-streetwear-legacy/\" rel=\"noopener\" target=\"_blank\">Hood By Air\u003c/a> had previously halted the film; Blanco says it was shelved for two years because of funding issues. But tonight, Oct. 19, \u003cem>No Leash\u003c/em> — screened previously only twice, in New York and London — makes its West Coast debut at Starline Social Club, followed by a performance by Blanco with support from Berkeley electro-pop singer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> and performance artist Davia Spain. (The show is a bit of a homecoming for Blanco, who is originally from San Mateo.)\u003c/p>\n\u003cp>“The film was unfinished for two years and went into, kind of like, a vault,” Blanco tells KQED Arts in a phone interview. “It resurfaced this year and we were like, ‘We have to put this out!'”\u003c/p>\n\u003cp>https://youtu.be/SwdUufJAW4o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using music from Blanco’s acclaimed 2014 album \u003cem>Gay Dog Food\u003c/em>, the film follows Blanco through a surreal fictional world full of strange characters, excessive corporate branding, and references to pop culture icons like Courtney Love. Blanco sums it up as a “a series of dreamlike vignettes.” \u003c/p>\n\u003cp>“It places me as this feral wildchild making my way through this banal, really mundane, kind of tweaky Americana,” he explains. “It’s so much to do with branding and the commodification of pop culture and even queer culture.”\u003c/p>\n\u003cfigure id=\"attachment_13812091\" class=\"wp-caption alignright\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/no-leash-flyer.jpg\" alt=\"The flyer for 'No Leash' starring Mykki Blanco.\" width=\"768\" height=\"960\" class=\"size-full wp-image-13812091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-520x650.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for ‘No Leash’ starring Mykki Blanco.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Blanco was living stateside when he filmed \u003cem>No Leash\u003c/em>, the film is particularly resonant to him now that he’s living in Portugal. When we spoke on the phone, he was in Los Angeles for a week to record with a friend’s band, dealing with a case of reverse culture shock. He didn’t mince words about the current political moment in America. \u003c/p>\n\u003cp>“I’m always just really surprised — kind of like everyone — about what America has descended into right now,” he says. “But America is going through exactly what it deserves as a country. Generationally and people who are in power, this is what happens when people become complicit, when people think that certain things in society can’t affect them. When other people are marginalized and you turn a blind eye, everyone can become oppressed.”\u003c/p>\n\u003cp>After the screening, Blanco will fly to Norway for his artist residency at \u003ca href=\"http://www.kunstsenter.no/\" target=\"_blank\" rel=\"noopener\">Hordaland Kunstsenter\u003c/a>, where he’s working on his first play. “It’s about a gay man and his female best friend who take acid, and the woman accidentally becomes pregnant, and then they basically get abducted into this polygamous cult with this other man and his wife.”\u003c/p>\n\u003cp>Blanco is as prolific as he is multi-faceted — and his work never ceases to challenge and surprise. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Leash’ screens Thursday, Oct. 19, at Starline Social Club. Tickets and info \u003ca href=\"https://www.eventbrite.com/e/mykki-blanco-feat-a-special-screening-of-the-short-film-no-leash-starline-social-club-tickets-36835355540\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/mykkiblanco\" target=\"_blank\" rel=\"noopener\">Mykki Blanco\u003c/a> has been at the center of conversations surrounding hip-hop and queerness since 2012, but two years ago, the gender non-conforming rapper \u003ca href=\"https://pitchfork.com/news/58965-mykki-blanco-quitting-music-to-pursue-investigative-journalism/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> a hiatus from music to pursue investigative journalism. Fortunately for fans, Blanco still dropped three projects after the announcement: The industrial, punk-inflected \u003cem>Mykki Blanco and the Mutant Angels\u003c/em>; the experimental compilation \u003cem>C-ORE\u003c/em>, which featured tracks by Yves Tumor and Psychoegyptian; and the self-titled 2016 album \u003cem>Mykki\u003c/em>, a psychedelic patchwork of tracks with a pop-trap backbone.\u003c/p>\n\u003cp>But Blanco has kept busy with other creative endeavors: His new mini-documentary series on i-D, \u003ca href=\"https://i-d.vice.com/en_us/article/43a57j/out-of-this-world-i-d-meets-mykki-blanco\" target=\"_blank\" rel=\"noopener\">\u003cem>Out of This World\u003c/em>\u003c/a>, shines a light on queer communities around the world, with a debut episode about Johannesburg, South Africa. He’s also finally unveiling a short film in which he starred in 2015, \u003cem>No Leash\u003c/em>, which was commissioned by the high-end streetwear brand Hood By Air and directed by Cody Critcheloe of the band SSION.\u003c/p>\n\u003cp>\u003ca href=\"https://www.highsnobiety.com/2017/04/25/hood-by-air-streetwear-legacy/\" rel=\"noopener\" target=\"_blank\">Hood By Air\u003c/a> had previously halted the film; Blanco says it was shelved for two years because of funding issues. But tonight, Oct. 19, \u003cem>No Leash\u003c/em> — screened previously only twice, in New York and London — makes its West Coast debut at Starline Social Club, followed by a performance by Blanco with support from Berkeley electro-pop singer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener\">Ah Mer Ah Su\u003c/a> and performance artist Davia Spain. (The show is a bit of a homecoming for Blanco, who is originally from San Mateo.)\u003c/p>\n\u003cp>“The film was unfinished for two years and went into, kind of like, a vault,” Blanco tells KQED Arts in a phone interview. “It resurfaced this year and we were like, ‘We have to put this out!'”\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/SwdUufJAW4o'\n title='//www.youtube.com/embed/SwdUufJAW4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using music from Blanco’s acclaimed 2014 album \u003cem>Gay Dog Food\u003c/em>, the film follows Blanco through a surreal fictional world full of strange characters, excessive corporate branding, and references to pop culture icons like Courtney Love. Blanco sums it up as a “a series of dreamlike vignettes.” \u003c/p>\n\u003cp>“It places me as this feral wildchild making my way through this banal, really mundane, kind of tweaky Americana,” he explains. “It’s so much to do with branding and the commodification of pop culture and even queer culture.”\u003c/p>\n\u003cfigure id=\"attachment_13812091\" class=\"wp-caption alignright\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/no-leash-flyer.jpg\" alt=\"The flyer for 'No Leash' starring Mykki Blanco.\" width=\"768\" height=\"960\" class=\"size-full wp-image-13812091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/no-leash-flyer-520x650.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for ‘No Leash’ starring Mykki Blanco.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Blanco was living stateside when he filmed \u003cem>No Leash\u003c/em>, the film is particularly resonant to him now that he’s living in Portugal. When we spoke on the phone, he was in Los Angeles for a week to record with a friend’s band, dealing with a case of reverse culture shock. He didn’t mince words about the current political moment in America. \u003c/p>\n\u003cp>“I’m always just really surprised — kind of like everyone — about what America has descended into right now,” he says. “But America is going through exactly what it deserves as a country. Generationally and people who are in power, this is what happens when people become complicit, when people think that certain things in society can’t affect them. When other people are marginalized and you turn a blind eye, everyone can become oppressed.”\u003c/p>\n\u003cp>After the screening, Blanco will fly to Norway for his artist residency at \u003ca href=\"http://www.kunstsenter.no/\" target=\"_blank\" rel=\"noopener\">Hordaland Kunstsenter\u003c/a>, where he’s working on his first play. “It’s about a gay man and his female best friend who take acid, and the woman accidentally becomes pregnant, and then they basically get abducted into this polygamous cult with this other man and his wife.”\u003c/p>\n\u003cp>Blanco is as prolific as he is multi-faceted — and his work never ceases to challenge and surprise. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Leash’ screens Thursday, Oct. 19, at Starline Social Club. Tickets and info \u003ca href=\"https://www.eventbrite.com/e/mykki-blanco-feat-a-special-screening-of-the-short-film-no-leash-starline-social-club-tickets-36835355540\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Beats: JULiA LEWiS",
"headTitle": "Behind the Beats: JULiA LEWiS | KQED",
"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\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>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/254182822″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4CsOMbhDzQs\u003c/p>\n\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Meet the producer of Rexx Life Raj's \"Handheld GPS\" and Caleborate's \"Consequences.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\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>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/254182822″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/254182822″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\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/4CsOMbhDzQs'\n title='//www.youtube.com/embed/4CsOMbhDzQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "On the Do List this week, Cy Musiker and co-host Ariana Proehl cover efforts to resume programming at North Bay Arts venues, and other shows. ",
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"title": "On the Air: Cy and Ariana's Do List Picks for Oct. 20, 2017 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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