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"content": "\u003cp>Victor Valle knew he had to do \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>Earlier this month, when President Trump announced his plans to rescind \u003ca href=\"https://ww2.kqed.org/news/2017/08/29/anxiety-grows-as-uncertainty-clouds-the-future-of-daca/\" target=\"_blank\" rel=\"noopener\">Deferred Action for Childhood Arrivals\u003c/a> (DACA), the piece of Obama-era legislation that extends certain legal protections to high-achieving undocumented immigrants who arrived to the United States as children, Valle rallied his friends and colleagues in the local music scene to put their heads together and take action. \u003c/p>\n\u003cp>Valle manages several Bay Artists — including rapper \u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> and indie rock band \u003ca href=\"https://soundcloud.com/abbotkinney\" target=\"_blank\" rel=\"noopener\">Abbot Kinney\u003c/a> — at his company, \u003ca href=\"http://counterculturegroup.com/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, and works in marketing for the concert promoter Live Nation. (Full disclosure: he’s also on the board of directors of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a>, a KQED Arts affiliate.) His call for musicians to donate their time for a DACA fundraiser circulated quickly on Twitter, and within a week he put together a two-part party series, Dance for DACA, which takes place on \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-oakland-dance-for-daca-tickets-38049559256\" target=\"_blank\" rel=\"noopener\">Sept. 28 at Starline Social Club\u003c/a> in Oakland and \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-san-francisco-dance-for-daca-tickets-38028962651\" target=\"_blank\" rel=\"noopener\">Sept. 29 at Standard Deviant Brewing\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/dance-for-daca-800x518.jpg\" alt=\"\" width=\"800\" height=\"518\" class=\"alignright size-medium wp-image-13809550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Valle was born to Mexican parents in Los Angeles and grew up with undocumented friends and neighbors. When he heard about Trump’s DACA repeal, he immediately thought of people in his community who would be personally affected. “The idea of ICE going into my hood, going to my hometown and separating families infuriates me,” says Valle. “If we want to talk about how we can separate folks, how we can put certain folks in categories, how we can make certain communities scared for their well-being even more so than they have been the past five or ten years — that’s exactly what [Trump is] doing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the Dance for DACA parties, Valle sought to create a benefit that would address the issue on a local and national level. Half of the proceeds from both parties benefit \u003ca href=\"https://unitedwedream.org\" target=\"_blank\" rel=\"noopener\">United We Dream\u003c/a>, a youth-led nonprofit that advocates for immigrant rights and works with DACA recipients. The other fifty percent of proceeds from the San Francisco party will go to the \u003ca href=\"http://sfilen.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Immigrant Legal and Education Network\u003c/a>; Oakland’s event is giving its other half to \u003ca href=\"https://eastbaysanctuary.org/\" target=\"_blank\" rel=\"noopener\">East Bay Sanctuary Covenant\u003c/a>, a non-profit that offers legal assistance to immigrants, refugees, and asylum seekers escaping violence. \u003c/p>\n\u003cp>Many of the artists on the lineup for Dance for DACA come from immigrant backgrounds themselves. \u003ca href=\"https://soundcloud.com/chulitavinylclub\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, who are playing both parties, are a group of Latina and Chicana DJs specializing in oldies; electronic producer \u003ca href=\"https://soundcloud.com/bisaria\" target=\"_blank\" rel=\"noopener\">BISARIA’s\u003c/a> parents are from India; \u003ca href=\"https://ww2.kqed.org/arts/2017/09/07/for-arumi-a-feeling-thats-more-important-than-sound/\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>, another DJ-producer known for her dreamy remixes, is of Japanese and Korean descent. \u003c/p>\n\u003cp>“Minorities have worked extremely hard to earn respect in this country and now that we’ve made a name for ourselves in every corner in every industry, the DACA repeal and travel ban only serve to undermine that kind of progress,” says BISARIA, who’s playing the San Francisco show on Friday. “Putting on a fundraiser like this is a way to show this is not something we’re gonna let slide, especially as people from immigrant backgrounds.”\u003c/p>\n\u003cp>After announcing the initial DACA repeal, on Sept. 5, Trump tweeted that lawmakers have six months to “\u003ca href=\"https://www.nytimes.com/2017/09/05/us/politics/trump-daca-dreamers-immigration.html?mcubz=1\" target=\"_blank\" rel=\"noopener\">legalize DACA\u003c/a>” or else he’ll revisit the issue. Today, Republicans put forth a proposal for a conservative reform to the program called the \u003ca href=\"https://www.cbsnews.com/news/republicans-propose-new-daca-bill/\" target=\"_blank\" rel=\"noopener\">SUCEED Act\u003c/a>. \u003c/p>\n\u003cp>Valle is hopeful that there is still time for activists and lawmakers to mobilize around the issue and protect Dreamers and immigrant families at risk of deportation. \u003c/p>\n\u003cp>“It’s always been about family. How do we make it better for our loved ones, for people we care about, for the generation after us?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The two-night party series in San Francisco and Oakland raises money for several immigration non-profits and spotlights artists of immigrant backgrounds. ",
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"description": "The two-night party series in San Francisco and Oakland raises money for several immigration non-profits and spotlights artists of immigrant backgrounds. ",
"title": "Bay Area Electronic Artists and DJs Unite to 'Dance for DACA' | KQED",
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"headline": "Bay Area Electronic Artists and DJs Unite to 'Dance for DACA'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Victor Valle knew he had to do \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>Earlier this month, when President Trump announced his plans to rescind \u003ca href=\"https://ww2.kqed.org/news/2017/08/29/anxiety-grows-as-uncertainty-clouds-the-future-of-daca/\" target=\"_blank\" rel=\"noopener\">Deferred Action for Childhood Arrivals\u003c/a> (DACA), the piece of Obama-era legislation that extends certain legal protections to high-achieving undocumented immigrants who arrived to the United States as children, Valle rallied his friends and colleagues in the local music scene to put their heads together and take action. \u003c/p>\n\u003cp>Valle manages several Bay Artists — including rapper \u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> and indie rock band \u003ca href=\"https://soundcloud.com/abbotkinney\" target=\"_blank\" rel=\"noopener\">Abbot Kinney\u003c/a> — at his company, \u003ca href=\"http://counterculturegroup.com/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, and works in marketing for the concert promoter Live Nation. (Full disclosure: he’s also on the board of directors of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a>, a KQED Arts affiliate.) His call for musicians to donate their time for a DACA fundraiser circulated quickly on Twitter, and within a week he put together a two-part party series, Dance for DACA, which takes place on \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-oakland-dance-for-daca-tickets-38049559256\" target=\"_blank\" rel=\"noopener\">Sept. 28 at Starline Social Club\u003c/a> in Oakland and \u003ca href=\"https://www.eventbrite.com/e/solidarity-for-sanctuary-san-francisco-dance-for-daca-tickets-38028962651\" target=\"_blank\" rel=\"noopener\">Sept. 29 at Standard Deviant Brewing\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/dance-for-daca-800x518.jpg\" alt=\"\" width=\"800\" height=\"518\" class=\"alignright size-medium wp-image-13809550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/dance-for-daca-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Valle was born to Mexican parents in Los Angeles and grew up with undocumented friends and neighbors. When he heard about Trump’s DACA repeal, he immediately thought of people in his community who would be personally affected. “The idea of ICE going into my hood, going to my hometown and separating families infuriates me,” says Valle. “If we want to talk about how we can separate folks, how we can put certain folks in categories, how we can make certain communities scared for their well-being even more so than they have been the past five or ten years — that’s exactly what [Trump is] doing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the Dance for DACA parties, Valle sought to create a benefit that would address the issue on a local and national level. Half of the proceeds from both parties benefit \u003ca href=\"https://unitedwedream.org\" target=\"_blank\" rel=\"noopener\">United We Dream\u003c/a>, a youth-led nonprofit that advocates for immigrant rights and works with DACA recipients. The other fifty percent of proceeds from the San Francisco party will go to the \u003ca href=\"http://sfilen.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Immigrant Legal and Education Network\u003c/a>; Oakland’s event is giving its other half to \u003ca href=\"https://eastbaysanctuary.org/\" target=\"_blank\" rel=\"noopener\">East Bay Sanctuary Covenant\u003c/a>, a non-profit that offers legal assistance to immigrants, refugees, and asylum seekers escaping violence. \u003c/p>\n\u003cp>Many of the artists on the lineup for Dance for DACA come from immigrant backgrounds themselves. \u003ca href=\"https://soundcloud.com/chulitavinylclub\" target=\"_blank\" rel=\"noopener\">Chulita Vinyl Club\u003c/a>, who are playing both parties, are a group of Latina and Chicana DJs specializing in oldies; electronic producer \u003ca href=\"https://soundcloud.com/bisaria\" target=\"_blank\" rel=\"noopener\">BISARIA’s\u003c/a> parents are from India; \u003ca href=\"https://ww2.kqed.org/arts/2017/09/07/for-arumi-a-feeling-thats-more-important-than-sound/\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>, another DJ-producer known for her dreamy remixes, is of Japanese and Korean descent. \u003c/p>\n\u003cp>“Minorities have worked extremely hard to earn respect in this country and now that we’ve made a name for ourselves in every corner in every industry, the DACA repeal and travel ban only serve to undermine that kind of progress,” says BISARIA, who’s playing the San Francisco show on Friday. “Putting on a fundraiser like this is a way to show this is not something we’re gonna let slide, especially as people from immigrant backgrounds.”\u003c/p>\n\u003cp>After announcing the initial DACA repeal, on Sept. 5, Trump tweeted that lawmakers have six months to “\u003ca href=\"https://www.nytimes.com/2017/09/05/us/politics/trump-daca-dreamers-immigration.html?mcubz=1\" target=\"_blank\" rel=\"noopener\">legalize DACA\u003c/a>” or else he’ll revisit the issue. Today, Republicans put forth a proposal for a conservative reform to the program called the \u003ca href=\"https://www.cbsnews.com/news/republicans-propose-new-daca-bill/\" target=\"_blank\" rel=\"noopener\">SUCEED Act\u003c/a>. \u003c/p>\n\u003cp>Valle is hopeful that there is still time for activists and lawmakers to mobilize around the issue and protect Dreamers and immigrant families at risk of deportation. \u003c/p>\n\u003cp>“It’s always been about family. How do we make it better for our loved ones, for people we care about, for the generation after us?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Evolutionary Blues' Resurrects West Oakland's Musical Legacy",
"headTitle": "‘Evolutionary Blues’ Resurrects West Oakland’s Musical Legacy | KQED",
"content": "\u003cp>The new documentary \u003ca href=\"http://www.swfcenter4sj.org/evolutionary-blues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>\u003c/a> examines a timely topic: the ways in which art, and specifically music, is constantly changing in concert with larger sociopolitical forces. The film, by director Cheryl Fabio, traces how hymns sung by slaves picking cotton transformed into the blues, which begat rock ‘n’ roll, funk, and even elements of hip-hop.\u003c/p>\n\u003cp>Alabama Mike, one of many East Bay musicians featured in the film, sums up this progression aptly: “The blues had babies.”\u003c/p>\n\u003cp>While the music has evolved, the reason for its existence remains obstinately rooted. The blues emerged as the collective, mournful wail of people trampled by America’s system of white supremacy. Fabio weaves politics into the narrative of music history to show how the migrants who fled the Jim Crow south were unable to escape institutionalized racism — and neither were the generations that followed. African Americans weren’t lynched in Oakland, but their homes were stolen and smashed during the era of “urban renewal.” Their grandchildren and great-grandchildren are still being targeted and killed in the streets by police.\u003c/p>\n\u003cp>Fabio, a long-time Oaklander, doesn’t have an academic expertise in the blues, but still felt qualified to make a movie about the genre. “I’ve been black all my life,” she explains.\u003c/p>\n\u003cfigure id=\"attachment_13809488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/crew-trainstation-800x533.jpg\" alt=\"Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \u003ccite>(Courtesy of Evolutionary Blues/Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Evolutionary Blues\u003c/em> was originally intended as a one-hour special for \u003ca href=\"http://www2.oaklandnet.com/government/o/CityClerk/s/KTOP/index.htm\" target=\"_blank\" rel=\"noopener\">KTOP\u003c/a>, the City of Oakland’s public access TV channel that broadcasts local government meetings. Once Fabio began her research, though, she was flooded with so many stories that it turned into a two-year project, culminating in the feature-length film that\u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">premieres at the Grand Lake Theater\u003c/a> on Sept. 27 before hitting the festival circuit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It wasn’t our intent to go this big, but it was too fascinating to squelch it, so we let it grow,” she says. \u003c/p>\n\u003caside class=\"pullquote alignright\">The people brought the sounds with them, and once they became city people, the sounds evolved — because they was evolving. \u003ccite>Faye Carol, singer\u003c/cite>\u003c/aside>\n\u003cp>Citing one example of how community involvement made the film possible, Fabio explained that when she couldn’t afford to license archival photos of performers like James Brown and T-Bone Walker, a local photographer offered images from his personal collection for free. The DIY spirit behind the film is reminiscent of the mid-century West Oakland that \u003cem>Evolutionary Blues\u003c/em> vividly brings back to life. \u003c/p>\n\u003cp>During World War II, the demand for workers sparked the biggest black population boom in Oakland’s history. Most of the new arrivals settled near the shipyards to be close to their jobs — and also because housing segregation was strictly enforced throughout the Bay Area. As black families primarily from Texas, Louisiana, Arkansas, and Oklahoma moved in, white homeowners subdivided their Victorians into rental units and moved out to East Oakland. \u003c/p>\n\u003cp>The 7th Street corridor quickly became a thriving hub for black-owned businesses, including many nightclubs, and the musical styles that new residents brought with them blended into a fresh concoction: West Coast Blues. In an interview filmed inside West Oakland’s historic, crumbling \u003ca href=\"https://localwiki.org/oakland/16th_Street_Station\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, award-winning singer Faye Carol explained, “The people brought the sounds with them and once they became city people, the sounds evolved — because they was evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13809491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1911-800x800.jpg\" alt=\"Legendary 7th Street blues club Esther's Orbit Room shuttered in 2011. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13809491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary 7th Street blues club Esther’s Orbit Room shuttered in 2011. \u003ccite>(Liam O'Donoghue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 1940s, record producer Bob Geddins launched a massively influential though often overlooked studio, and several record labels. The Pullman Porters, a politically active union of Black railroad workers, helped distribute Geddins’ recordings of blues pioneers such as Lowell Fulson and Jimmy McCracklin across the country. West Oakland turned into a magnet for aspiring musicians like B.B. King, who visited frequently, and T-Bone Walker, who became famous for doing the splits while playing guitar and was called “the greatest entertainer of all time” by Chuck Berry. Other stars of the scene included Big Mama Thornton, renowned for making “Hound Dog” a hit three years before Elvis Presley, and Sugar Pie DeSanto, a firecracker known for leaping from pianos with James Brown, who is \u003ca href=\"https://www.eastbayexpress.com/oakland/sugar-pie-desantos-delicious-soul/Content?oid=7694048\" target=\"_blank\" rel=\"noopener\">still playing shows\u003c/a> at 81 years old. \u003c/p>\n\u003cp>Unfortunately, video recordings of juke joint performances during the height of this scene are virtually nonexistent, but Fabio makes up for the lack of archival footage with rich recollections from folks who were actually there, like the aforementioned DeSanto. These stories, along with a thumping soundtrack and gorgeous black-and-white photos from the collection of \u003ca href=\"https://www.arcadiapublishing.com/Products/9781467125659\" target=\"_blank\" rel=\"noopener\">E.F. Joseph\u003c/a> — an Oakland photojournalist who obsessively documented local black cultural events for more than five decades — give the documentary an intimate, visceral feel. \u003c/p>\n\u003cp>This era captured in \u003cem>Evolutionary Blues\u003c/em> ended abruptly when swaths of the neighborhood, including most of 7th Street, were demolished to make room for massive infrastructure projects, including Interstate 880, BART, and an enormous U.S. Post Office facility. Thousands of residents were pushed out with little compensation through eminent domain. Decommissioned military tanks were used to crush one of America’s most vital black communities into rubble. (Yes, really — the photos are devastating.) As the film shifts into the post-blues era, the viewer is left grappling with these traumatic images, making it difficult to fully appreciate the chapters exploring 1960s and ’70s funk — and that music’s connection to another Oakland institution: The Black Panther Party. \u003c/p>\n\u003cfigure id=\"attachment_13809492\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/SugarPie_1-800x1196.jpg\" alt=\"Sugar Pie DeSanto, an Oakland blues icon, still performs today.\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13809492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, an Oakland blues icon, still performs today. \u003ccite>(Courtesy of Sugar Pie DeSanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, historic venue \u003ca href=\"https://www.eastbayexpress.com/oakland/elis-mile-high-club-in-west-oakland-celebrates-its-blues-legacy-this-weekend/Content?oid=5307834\" target=\"_blank\" rel=\"noopener\">Eli’s Mile High Club\u003c/a>, now primarily known as a punk bar, has begun hosting blues nights to bring local legends back to its storied stage. But according to Geoffrey Pete, long-time owner of downtown venue Geoffrey’s Inner Circle, black businesses are still facing institutional discrimination, and have limited opportunities to rebuild the scene or preserve its legacy. Pete’s club was \u003ca href=\"https://www.eastbayexpress.com/oakland/cops-charging-overtime-to-clubs/Content?oid=2491919\" target=\"_blank\" rel=\"noopener\">shut down from 2009 through 2012\u003c/a> following a controversy that involved an OPD sergeant allegedly fabricating a shooting as part of what Pete characterized as a shakedown scheme for “protection money.” As long as these kinds of stories persist, the message behind the blues will remain urgent. “The pain and suffering won’t go anywhere, so there’ll be a need to sing the blues for a long time,” he said in film. \u003c/p>\n\u003cp>Fabio is also confident that Oakland’s Black population will ultimately refuse to succumb to the forces of displacement bearing down on the East Bay. “I’m optimistic, because I view us as a stubborn people,” she said. “That’s why we’re still here. I can’t imagine this generation is gonna flake out and we’re going to disappear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Evolutionary Blues: West Oakland’s Music Legacy’ premieres at Oakland’s Grand Lake Theater on Wednesday, Sept. 27, at 7pm. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. There will also be a screening on Nov. 10 at \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\" target=\"_blank\" rel=\"noopener\">The African American Museum and Library at Oakland\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Cheryl Fabio's new documentary traces the history of West Oakland's blues scene -- and the social forces behind its rise and fall. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003ca href=\"http://www.swfcenter4sj.org/evolutionary-blues.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Evolutionary Blues: West Oakland’s Music Legacy\u003c/em>\u003c/a> examines a timely topic: the ways in which art, and specifically music, is constantly changing in concert with larger sociopolitical forces. The film, by director Cheryl Fabio, traces how hymns sung by slaves picking cotton transformed into the blues, which begat rock ‘n’ roll, funk, and even elements of hip-hop.\u003c/p>\n\u003cp>Alabama Mike, one of many East Bay musicians featured in the film, sums up this progression aptly: “The blues had babies.”\u003c/p>\n\u003cp>While the music has evolved, the reason for its existence remains obstinately rooted. The blues emerged as the collective, mournful wail of people trampled by America’s system of white supremacy. Fabio weaves politics into the narrative of music history to show how the migrants who fled the Jim Crow south were unable to escape institutionalized racism — and neither were the generations that followed. African Americans weren’t lynched in Oakland, but their homes were stolen and smashed during the era of “urban renewal.” Their grandchildren and great-grandchildren are still being targeted and killed in the streets by police.\u003c/p>\n\u003cp>Fabio, a long-time Oaklander, doesn’t have an academic expertise in the blues, but still felt qualified to make a movie about the genre. “I’ve been black all my life,” she explains.\u003c/p>\n\u003cfigure id=\"attachment_13809488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/crew-trainstation-800x533.jpg\" alt=\"Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/crew-trainstation-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Cheryl Fabio (center) on set at 16th Street Station. \u003ccite>(Courtesy of Evolutionary Blues/Cheryl Fabio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Evolutionary Blues\u003c/em> was originally intended as a one-hour special for \u003ca href=\"http://www2.oaklandnet.com/government/o/CityClerk/s/KTOP/index.htm\" target=\"_blank\" rel=\"noopener\">KTOP\u003c/a>, the City of Oakland’s public access TV channel that broadcasts local government meetings. Once Fabio began her research, though, she was flooded with so many stories that it turned into a two-year project, culminating in the feature-length film that\u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">premieres at the Grand Lake Theater\u003c/a> on Sept. 27 before hitting the festival circuit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It wasn’t our intent to go this big, but it was too fascinating to squelch it, so we let it grow,” she says. \u003c/p>\n\u003caside class=\"pullquote alignright\">The people brought the sounds with them, and once they became city people, the sounds evolved — because they was evolving. \u003ccite>Faye Carol, singer\u003c/cite>\u003c/aside>\n\u003cp>Citing one example of how community involvement made the film possible, Fabio explained that when she couldn’t afford to license archival photos of performers like James Brown and T-Bone Walker, a local photographer offered images from his personal collection for free. The DIY spirit behind the film is reminiscent of the mid-century West Oakland that \u003cem>Evolutionary Blues\u003c/em> vividly brings back to life. \u003c/p>\n\u003cp>During World War II, the demand for workers sparked the biggest black population boom in Oakland’s history. Most of the new arrivals settled near the shipyards to be close to their jobs — and also because housing segregation was strictly enforced throughout the Bay Area. As black families primarily from Texas, Louisiana, Arkansas, and Oklahoma moved in, white homeowners subdivided their Victorians into rental units and moved out to East Oakland. \u003c/p>\n\u003cp>The 7th Street corridor quickly became a thriving hub for black-owned businesses, including many nightclubs, and the musical styles that new residents brought with them blended into a fresh concoction: West Coast Blues. In an interview filmed inside West Oakland’s historic, crumbling \u003ca href=\"https://localwiki.org/oakland/16th_Street_Station\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, award-winning singer Faye Carol explained, “The people brought the sounds with them and once they became city people, the sounds evolved — because they was evolving.” \u003c/p>\n\u003cfigure id=\"attachment_13809491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1911-800x800.jpg\" alt=\"Legendary 7th Street blues club Esther's Orbit Room shuttered in 2011. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13809491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1911-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary 7th Street blues club Esther’s Orbit Room shuttered in 2011. \u003ccite>(Liam O'Donoghue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late 1940s, record producer Bob Geddins launched a massively influential though often overlooked studio, and several record labels. The Pullman Porters, a politically active union of Black railroad workers, helped distribute Geddins’ recordings of blues pioneers such as Lowell Fulson and Jimmy McCracklin across the country. West Oakland turned into a magnet for aspiring musicians like B.B. King, who visited frequently, and T-Bone Walker, who became famous for doing the splits while playing guitar and was called “the greatest entertainer of all time” by Chuck Berry. Other stars of the scene included Big Mama Thornton, renowned for making “Hound Dog” a hit three years before Elvis Presley, and Sugar Pie DeSanto, a firecracker known for leaping from pianos with James Brown, who is \u003ca href=\"https://www.eastbayexpress.com/oakland/sugar-pie-desantos-delicious-soul/Content?oid=7694048\" target=\"_blank\" rel=\"noopener\">still playing shows\u003c/a> at 81 years old. \u003c/p>\n\u003cp>Unfortunately, video recordings of juke joint performances during the height of this scene are virtually nonexistent, but Fabio makes up for the lack of archival footage with rich recollections from folks who were actually there, like the aforementioned DeSanto. These stories, along with a thumping soundtrack and gorgeous black-and-white photos from the collection of \u003ca href=\"https://www.arcadiapublishing.com/Products/9781467125659\" target=\"_blank\" rel=\"noopener\">E.F. Joseph\u003c/a> — an Oakland photojournalist who obsessively documented local black cultural events for more than five decades — give the documentary an intimate, visceral feel. \u003c/p>\n\u003cp>This era captured in \u003cem>Evolutionary Blues\u003c/em> ended abruptly when swaths of the neighborhood, including most of 7th Street, were demolished to make room for massive infrastructure projects, including Interstate 880, BART, and an enormous U.S. Post Office facility. Thousands of residents were pushed out with little compensation through eminent domain. Decommissioned military tanks were used to crush one of America’s most vital black communities into rubble. (Yes, really — the photos are devastating.) As the film shifts into the post-blues era, the viewer is left grappling with these traumatic images, making it difficult to fully appreciate the chapters exploring 1960s and ’70s funk — and that music’s connection to another Oakland institution: The Black Panther Party. \u003c/p>\n\u003cfigure id=\"attachment_13809492\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/SugarPie_1-800x1196.jpg\" alt=\"Sugar Pie DeSanto, an Oakland blues icon, still performs today.\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13809492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/SugarPie_1-520x777.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sugar Pie DeSanto, an Oakland blues icon, still performs today. \u003ccite>(Courtesy of Sugar Pie DeSanto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, historic venue \u003ca href=\"https://www.eastbayexpress.com/oakland/elis-mile-high-club-in-west-oakland-celebrates-its-blues-legacy-this-weekend/Content?oid=5307834\" target=\"_blank\" rel=\"noopener\">Eli’s Mile High Club\u003c/a>, now primarily known as a punk bar, has begun hosting blues nights to bring local legends back to its storied stage. But according to Geoffrey Pete, long-time owner of downtown venue Geoffrey’s Inner Circle, black businesses are still facing institutional discrimination, and have limited opportunities to rebuild the scene or preserve its legacy. Pete’s club was \u003ca href=\"https://www.eastbayexpress.com/oakland/cops-charging-overtime-to-clubs/Content?oid=2491919\" target=\"_blank\" rel=\"noopener\">shut down from 2009 through 2012\u003c/a> following a controversy that involved an OPD sergeant allegedly fabricating a shooting as part of what Pete characterized as a shakedown scheme for “protection money.” As long as these kinds of stories persist, the message behind the blues will remain urgent. “The pain and suffering won’t go anywhere, so there’ll be a need to sing the blues for a long time,” he said in film. \u003c/p>\n\u003cp>Fabio is also confident that Oakland’s Black population will ultimately refuse to succumb to the forces of displacement bearing down on the East Bay. “I’m optimistic, because I view us as a stubborn people,” she said. “That’s why we’re still here. I can’t imagine this generation is gonna flake out and we’re going to disappear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Evolutionary Blues: West Oakland’s Music Legacy’ premieres at Oakland’s Grand Lake Theater on Wednesday, Sept. 27, at 7pm. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/evolutionary-blues-west-oaklands-music-legacy-tickets-36852277153?aff=efbeventtix\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. There will also be a screening on Nov. 10 at \u003ca href=\"http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland\" target=\"_blank\" rel=\"noopener\">The African American Museum and Library at Oakland\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Trump, Taking Aim at Athletes' Knees, Draws Musicians to the Floor, too",
"headTitle": "Trump, Taking Aim at Athletes’ Knees, Draws Musicians to the Floor, too | KQED",
"content": "\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \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=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Music legend Stevie Wonder told a Central Park crowd: \"I'm taking a knee for America ... but not just one knee — I'm taking both knees.\" Wonder was joined by Pharrell and many others this weekend.",
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"title": "Trump, Taking Aim at Athletes' Knees, Draws Musicians to the Floor, too | KQED",
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"headline": "Trump, Taking Aim at Athletes' Knees, Draws Musicians to the Floor, too",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \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=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall",
"headTitle": "Live Review: BROCKHAMPTON’s Anarchic Hip-Hop at Social Hall | KQED",
"content": "\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"13809402,13809403,13809397\"]\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\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>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\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>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Asian Art Museum, RZA Talks Fashion, Wu-Tang, and Martin Shkreli",
"headTitle": "At the Asian Art Museum, RZA Talks Fashion, Wu-Tang, and Martin Shkreli | KQED",
"content": "\u003cp>If the Asian Art Museum in San Francisco seems like an unorthodox venue for one of the world’s most famous hip-hop producers to premiere a new song and fashion collection, you obviously don’t know the Wu-Tang Clan.\u003c/p>\n\u003cp>Samples from kung-fu films like \u003cem>Shaolin and Wu Tang\u003c/em> pepper the Wu-Tang Clan’s early albums, an outgrowth of group leader \u003ca href=\"https://twitter.com/RZA\" target=\"_blank\" rel=\"noopener\">RZA’s\u003c/a> adolescent obsession with martial arts. Over the years, however, the rapper, producer, and entrepreneur has immersed himself in Eastern philosophical and spiritual teachings, and has even traveled to the Shaolin Monastery — a Buddhist temple in Dengfeng, China — to become officially ordained as a disciple.\u003c/p>\n\u003cp>“My appreciation [of Asian culture] has evolved from being an outside admirer to being a historical studier to actually becoming, you could say, a member of it,” says RZA (a.k.a. Robert Diggs) when we sit down in the VIP room of San Francisco’s Asian Art Museum on Thursday night.\u003c/p>\n\u003cp>Tonight, the museum is abuzz with hip-hop heads, fashionistas, and photographers anxious for the launch of RZA’s second \u003ca href=\"https://www.36chambers.com/collections/emperors-treasures\" target=\"_blank\" rel=\"noopener\">fashion collection\u003c/a> for \u003ca href=\"https://www.36chambers.com/blogs/news\" target=\"_blank\" rel=\"noopener\">36 Chambers ALC\u003c/a>, his nascent lifestyle brand and record label. In addition to its new line of limited edition jackets, t-shirts, and accessories — available online and at the Asian Art Museum starting today — 36 Chambers is also set to release Wu-Tang Clan’s next album, \u003cem>Wu-Tang: The Saga Continues\u003c/em>, on Oct. 13.\u003c/p>\n\u003cfigure id=\"attachment_13809274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/2499-P-800x533.jpg\" alt=\"A shot from the new 36 Chambers lookbook. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot from the new 36 Chambers lookbook. \u003ccite>(36 Chambers ALC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The launch party’s attendees are the first to hear the collective’s new single, “Lessons Learn’d,” which plays every hour on headphones available at the museum’s kiosks. In it, the group takes a clear attack on Martin Shkreli, the “pharma bro” who purchased the sole copy of Wu-Tang’s last album, \u003cem>Once Upon a Time in Shaolin\u003c/em> for $2 million — and who, while being sentenced this month to federal prison, unloaded it on eBay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Museum attendees wear headphones, hearing the lyrics: “Hater / Wouldn’t last a day in my shoes / You know very well / Bet he swell / You can tell he jeal’ / My price hikin’ like the pills Martin Shkreli sell.”\u003c/p>\n\u003cp>Before our talk is over, RZA talks about Shkreli and his eBay auction. But first: why the Asian Art Museum?\u003c/p>\n\u003cp>Last year, RZA’s San Francisco-based business partner at 36 Chambers, Mustafa Shaikh, went to the museum on a date, and was immediately impressed by the \u003ca href=\"http://www.asianart.org/exhibitions/emperors-treasures\" target=\"_blank\" rel=\"noopener\">\u003cem>Emperors’ Treasures\u003c/em>\u003c/a> exhibit of artifacts from the National Palace Museum in Taipei spanning the 12th through 20th centuries. When RZA was in town on tour, Shaikh brought him to the museum, and they began to conceptualize fashion designs based on Buddhist sutras, wax seals from calligraphic scrolls, and other artifacts from \u003cem>Emperor’s Treasures\u003c/em>.\u003c/p>\n\u003cp>“When I got here, I wished I had more time,” says RZA. “I was really engaged. I was like a kid in a toy store.”\u003c/p>\n\u003cfigure id=\"attachment_13809277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RZA1-800x526.jpg\" alt=\"RZA at the Asian Art Museum. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13809277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RZA at the Asian Art Museum. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion is by no means RZA’s first foray into another creative field beyond hip-hop. His soundtrack work has appeared in various films and video games, including \u003cem>Kill Bill: Vol. 1\u003c/em>, \u003cem>Soul Plane\u003c/em>, and \u003cem>Afro Samurai\u003c/em>. He’s also the author of two philosophy books, \u003cem>The Wu-Tang Manual\u003c/em> and \u003cem>The Tao of Wu\u003c/em>, which combine teachings from Buddhism, Christianity, Islam, and more esoteric sects like the Five-Percent Nation. For RZA, fashion is simply the next step in his continuous creative evolution. \u003c/p>\n\u003cp>“I recognized early on that art is a wavelength, and that wavelength could be tuned to different forms of art,” he says. “If I become the instrument, I can let anything flow through me, like a trumpet. You can play jazz with it, you can play rock with it, you can play classical with it. You can play anything you want with it, it depends on the player. But if I become the instrument as well as the player — you know what I mean — then I can be both, and that’s what I think I’ve become.”\u003c/p>\n\u003cp>RZA recently returned to his roots with the new Wu-Tang album, handing off beat-making to DJ Mathematics (who, incidentally, created the original Wu-Tang logo) so that he could focus exclusively on rapping and post-production. On the new project, Mathematics channels the gritty, organic feel of RZA’s old-school piano loops, the foundation of Wu-Tang’s first album, \u003cem>Enter the Wu-Tang (36 Chambers)\u003c/em>.\u003c/p>\n\u003cp>Even amidst the new album’s rollout, RZA says that he’s already itching to make more music. “Look, I love the studio. Sometimes when I’m not in it for a while and I get back in it, I wind up staying in it for a month,” he says. “I get stuck in it. I’m in a very musical mode right now, even today. I’m kind of fiending to make some music.”\u003c/p>\n\u003cfigure id=\"attachment_13809283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/3195-P2-800x533.jpg\" alt=\"A hat from the new 36 Chambers collection.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A hat from the new 36 Chambers collection. \u003ccite>(36 Chambers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>RZA’s desire to push the envelope has made him no stranger to controversy — including the ongoing Martin Shkreli episode. To many fans’ ire, Wu-Tang’s last album, 2015’s \u003cem>Once Upon a Time in Shaolin\u003c/em>, was auctioned off as a single copy for $2 million to the infamous pharmacy executive, who was recently convicted for fraud and \u003ca href=\"http://money.cnn.com/2017/09/14/news/martin-shkreli-jail/index.html\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> in a New York jail. \u003c/p>\n\u003cp>Many fans were perplexed by why Wu-Tang created an album intended for a single listener — let alone a man who raised the price of an AIDS drug from $13.50 to $750 per pill.\u003c/p>\n\u003cp>“Right here, we’re at the Asian Art Museum. Everything in here is singular,” RZA explains. “So the idea was that we were creating a piece of art, not something that could be mass-consumed. We also thought music was losing its value and we wanted to bring value back to it.”\u003c/p>\n\u003cp>Shkreli recently put the album up for sale on eBay. The auction appeared to close at just over $1 million, but the sale \u003ca href=\"http://hiphopdx.com/news/id.44692/title.martin-shkrelis-ebay-sale-of-wu-tang-clans-once-upon-a-time-in-shaolin-is-bogus#\" target=\"_blank\" rel=\"noopener\">hasn’t been finalized\u003c/a> since Shkreli is currently behind bars. \u003c/p>\n\u003cp>“Out of all the bad things they say [Shkreli’s] done, he did one thing that was good, which was that he helped prove the theory of the value of music — even by him putting it on eBay, which I’m pretty pissed off about.”\u003c/p>\n\u003cp>Its unclear whether the world will ever hear \u003cem>Once Upon a Time in Shaolin\u003c/em>, but after Wu-Tang drops their next album, \u003cem>The Saga Continues\u003c/em>, RZA says the group will record one more final project. He doesn’t want to tour into old age like B.B. King, he jokes later during his artist talk with hip-hop historian \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>.\u003c/p>\n\u003cp>“I think everything a man does, as he lives longer, he should evolve,” he tells me. “So I just keep evolving, and I’m ready for the next.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "In San Francisco to premiere the pharma-bro diss track 'Lessons Learn'd' and a new fashion collection, the Wu-Tang leader also addressed Shkreli's recent eBay auction.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the Asian Art Museum in San Francisco seems like an unorthodox venue for one of the world’s most famous hip-hop producers to premiere a new song and fashion collection, you obviously don’t know the Wu-Tang Clan.\u003c/p>\n\u003cp>Samples from kung-fu films like \u003cem>Shaolin and Wu Tang\u003c/em> pepper the Wu-Tang Clan’s early albums, an outgrowth of group leader \u003ca href=\"https://twitter.com/RZA\" target=\"_blank\" rel=\"noopener\">RZA’s\u003c/a> adolescent obsession with martial arts. Over the years, however, the rapper, producer, and entrepreneur has immersed himself in Eastern philosophical and spiritual teachings, and has even traveled to the Shaolin Monastery — a Buddhist temple in Dengfeng, China — to become officially ordained as a disciple.\u003c/p>\n\u003cp>“My appreciation [of Asian culture] has evolved from being an outside admirer to being a historical studier to actually becoming, you could say, a member of it,” says RZA (a.k.a. Robert Diggs) when we sit down in the VIP room of San Francisco’s Asian Art Museum on Thursday night.\u003c/p>\n\u003cp>Tonight, the museum is abuzz with hip-hop heads, fashionistas, and photographers anxious for the launch of RZA’s second \u003ca href=\"https://www.36chambers.com/collections/emperors-treasures\" target=\"_blank\" rel=\"noopener\">fashion collection\u003c/a> for \u003ca href=\"https://www.36chambers.com/blogs/news\" target=\"_blank\" rel=\"noopener\">36 Chambers ALC\u003c/a>, his nascent lifestyle brand and record label. In addition to its new line of limited edition jackets, t-shirts, and accessories — available online and at the Asian Art Museum starting today — 36 Chambers is also set to release Wu-Tang Clan’s next album, \u003cem>Wu-Tang: The Saga Continues\u003c/em>, on Oct. 13.\u003c/p>\n\u003cfigure id=\"attachment_13809274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/2499-P-800x533.jpg\" alt=\"A shot from the new 36 Chambers lookbook. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot from the new 36 Chambers lookbook. \u003ccite>(36 Chambers ALC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The launch party’s attendees are the first to hear the collective’s new single, “Lessons Learn’d,” which plays every hour on headphones available at the museum’s kiosks. In it, the group takes a clear attack on Martin Shkreli, the “pharma bro” who purchased the sole copy of Wu-Tang’s last album, \u003cem>Once Upon a Time in Shaolin\u003c/em> for $2 million — and who, while being sentenced this month to federal prison, unloaded it on eBay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Museum attendees wear headphones, hearing the lyrics: “Hater / Wouldn’t last a day in my shoes / You know very well / Bet he swell / You can tell he jeal’ / My price hikin’ like the pills Martin Shkreli sell.”\u003c/p>\n\u003cp>Before our talk is over, RZA talks about Shkreli and his eBay auction. But first: why the Asian Art Museum?\u003c/p>\n\u003cp>Last year, RZA’s San Francisco-based business partner at 36 Chambers, Mustafa Shaikh, went to the museum on a date, and was immediately impressed by the \u003ca href=\"http://www.asianart.org/exhibitions/emperors-treasures\" target=\"_blank\" rel=\"noopener\">\u003cem>Emperors’ Treasures\u003c/em>\u003c/a> exhibit of artifacts from the National Palace Museum in Taipei spanning the 12th through 20th centuries. When RZA was in town on tour, Shaikh brought him to the museum, and they began to conceptualize fashion designs based on Buddhist sutras, wax seals from calligraphic scrolls, and other artifacts from \u003cem>Emperor’s Treasures\u003c/em>.\u003c/p>\n\u003cp>“When I got here, I wished I had more time,” says RZA. “I was really engaged. I was like a kid in a toy store.”\u003c/p>\n\u003cfigure id=\"attachment_13809277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RZA1-800x526.jpg\" alt=\"RZA at the Asian Art Museum. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13809277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RZA at the Asian Art Museum. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion is by no means RZA’s first foray into another creative field beyond hip-hop. His soundtrack work has appeared in various films and video games, including \u003cem>Kill Bill: Vol. 1\u003c/em>, \u003cem>Soul Plane\u003c/em>, and \u003cem>Afro Samurai\u003c/em>. He’s also the author of two philosophy books, \u003cem>The Wu-Tang Manual\u003c/em> and \u003cem>The Tao of Wu\u003c/em>, which combine teachings from Buddhism, Christianity, Islam, and more esoteric sects like the Five-Percent Nation. For RZA, fashion is simply the next step in his continuous creative evolution. \u003c/p>\n\u003cp>“I recognized early on that art is a wavelength, and that wavelength could be tuned to different forms of art,” he says. “If I become the instrument, I can let anything flow through me, like a trumpet. You can play jazz with it, you can play rock with it, you can play classical with it. You can play anything you want with it, it depends on the player. But if I become the instrument as well as the player — you know what I mean — then I can be both, and that’s what I think I’ve become.”\u003c/p>\n\u003cp>RZA recently returned to his roots with the new Wu-Tang album, handing off beat-making to DJ Mathematics (who, incidentally, created the original Wu-Tang logo) so that he could focus exclusively on rapping and post-production. On the new project, Mathematics channels the gritty, organic feel of RZA’s old-school piano loops, the foundation of Wu-Tang’s first album, \u003cem>Enter the Wu-Tang (36 Chambers)\u003c/em>.\u003c/p>\n\u003cp>Even amidst the new album’s rollout, RZA says that he’s already itching to make more music. “Look, I love the studio. Sometimes when I’m not in it for a while and I get back in it, I wind up staying in it for a month,” he says. “I get stuck in it. I’m in a very musical mode right now, even today. I’m kind of fiending to make some music.”\u003c/p>\n\u003cfigure id=\"attachment_13809283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/3195-P2-800x533.jpg\" alt=\"A hat from the new 36 Chambers collection.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A hat from the new 36 Chambers collection. \u003ccite>(36 Chambers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>RZA’s desire to push the envelope has made him no stranger to controversy — including the ongoing Martin Shkreli episode. To many fans’ ire, Wu-Tang’s last album, 2015’s \u003cem>Once Upon a Time in Shaolin\u003c/em>, was auctioned off as a single copy for $2 million to the infamous pharmacy executive, who was recently convicted for fraud and \u003ca href=\"http://money.cnn.com/2017/09/14/news/martin-shkreli-jail/index.html\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> in a New York jail. \u003c/p>\n\u003cp>Many fans were perplexed by why Wu-Tang created an album intended for a single listener — let alone a man who raised the price of an AIDS drug from $13.50 to $750 per pill.\u003c/p>\n\u003cp>“Right here, we’re at the Asian Art Museum. Everything in here is singular,” RZA explains. “So the idea was that we were creating a piece of art, not something that could be mass-consumed. We also thought music was losing its value and we wanted to bring value back to it.”\u003c/p>\n\u003cp>Shkreli recently put the album up for sale on eBay. The auction appeared to close at just over $1 million, but the sale \u003ca href=\"http://hiphopdx.com/news/id.44692/title.martin-shkrelis-ebay-sale-of-wu-tang-clans-once-upon-a-time-in-shaolin-is-bogus#\" target=\"_blank\" rel=\"noopener\">hasn’t been finalized\u003c/a> since Shkreli is currently behind bars. \u003c/p>\n\u003cp>“Out of all the bad things they say [Shkreli’s] done, he did one thing that was good, which was that he helped prove the theory of the value of music — even by him putting it on eBay, which I’m pretty pissed off about.”\u003c/p>\n\u003cp>Its unclear whether the world will ever hear \u003cem>Once Upon a Time in Shaolin\u003c/em>, but after Wu-Tang drops their next album, \u003cem>The Saga Continues\u003c/em>, RZA says the group will record one more final project. He doesn’t want to tour into old age like B.B. King, he jokes later during his artist talk with hip-hop historian \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>.\u003c/p>\n\u003cp>“I think everything a man does, as he lives longer, he should evolve,” he tells me. “So I just keep evolving, and I’m ready for the next.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "La Misa Negra's Second Album Serves Cumbia With a Punk Attitude",
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"content": "\u003cp>\u003ca href=\"http://lamisanegra.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra’s\u003c/a> music is so eclectic, the Oakland cumbia band wouldn’t sound out of place playing at a Latin club, dive bar, or even a Jewish wedding. At a typical live show, the group bursts onto the stage with a frenzy of drums and horns. Singer Diana Trujillo bounces to the beat, pirouetting on one foot and letting out a loud, throaty cry; guitarist Marco Polo Santiago headbangs while picking his guitar. \u003c/p>\n\u003cp>La Misa Negra has been lighting up dance floors with their high-energy brand of cumbia since 2011. Their second, self-titled studio album, due out on Sept. 29, draws on elements of hip-hop, Latin jazz, and even metal to create a sound band members describe as “hella bailable,” or hella danceable. \u003c/p>\n\u003cp>“Our number one mission is just to make people move,” says Santiago, La Misa Negra’s composer, guitarist, and accordion player.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/12154739″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>La Misa Negra has come a long way from their first release, \u003cem>Misa De Medianoche\u003c/em>, which Santiago recorded on his laptop with a single microphone in 2013. Their new, self-titled project, nicknamed \u003cem>The Red Album\u003c/em>, was recorded in a much more professional setting, at Oakland’s 25th Street Recording; it captures the raw energy and musical prowess of its frenetic live shows. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>La Misa Negra’s sound might contain multi-regional influences, but it could only have been born in the Bay Area. Santiago came up in Los Angeles’ hip-hop and metal scenes, and his background is evident in the band’s hard-driving, percussive rhythms. In high school, he played trumpet and developed a deep love for horn lines. After moving to Oakland seven years ago, Santiago connected with a diverse collection of local players and formed a seven-piece band whose name translates to “the black mass.”\u003c/p>\n\u003cp>With La Misa Negra, Santiago sought to incorporate a variety of Latin and rock influences to create “something that sounds like Black Sabbath in Spanish.” Indeed, the band’s new record opens with an Afrobeat-inspired instrumental cover of the Sabbath tune “A National Acrobat.” Yet La Misa Negra’s energetic performances — which move at a rapid clip with furious drumming and Spanish-language vocals — are much more upbeat than the band’s name suggests.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340082617″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Much of La Misa Negra’s musical grit comes from Colombian-born vocalist Trujillo’s lyrics, which feature feminist themes and progressive political messages. Trujillo penned the cumbia scorcher from the forthcoming album, “Dueña de Mi” (“Boss of Myself”), after the Women’s March in Washington D.C. In it, she asserts her right to make her own decisions, including when to have children and obtain an education. “I am the owner of my destiny and I want to live it with freedom,” Trujillo sings in Spanish over Santiago’s crooning accordion.\u003c/p>\n\u003cp>“[The Women’s March] inspired me to make my own protest through music,” Trujillo writes in an email to KQED. “Women have been prohibited of expression in so many cultures and that’s what inspires me. I come from a very male, chauvinist society, which I protest with my songs.” \u003c/p>\n\u003cp>“The female role in Latin dance music is often relegated to a backup dancer or pretty girl in a bathing suit. I really wanted to have talented people in this band who weren’t just guys,” Santiago says, referring to saxophone and clarinet player Morgan Nilsen and the band’s massively talented percussionist, Elena De Troya. “We’re a multi-cultural band, a multi-gender band, and we embrace our differences. Equal treatment of all people is important to us.”\u003c/p>\n\u003cp>Gun violence, another important issue to the band, is the subject of “Pistola,” a salsa track from the new album. The topic hits close to home for Trujillo, who grew up in Colombia in the ’80s and ’90s when the country was besieged by government and guerilla violence. \u003c/p>\n\u003cp>“A lot of my relatives died during this time, including my own father,” Trujillo says. “I felt death very close so many times.”\u003c/p>\n\u003cfigure id=\"attachment_13809218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-800x401.jpg\" alt=\"La Misa Negra's seven members come from diverse musical backgrounds and walks of life.\" width=\"800\" height=\"401\" class=\"size-medium wp-image-13809218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-520x261.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">La Misa Negra’s seven members come from diverse musical backgrounds and walks of life. \u003ccite>(Andrew Zhou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although a good portion of La Misa Negra’s audience aren’t Spanish speakers and likely didn’t grow up listening to Latin music, the band members don’t see language as an issue. There’s no particular scene that shows up to get down, but almost everyone is stomping, jumping, or shaking their hips to the music regardless of age, gender, or ethnicity. \u003c/p>\n\u003cp>“This is beautiful. I look into the audience and it’s like a rainbow of faces,” Santiago says. \u003c/p>\n\u003cp>“That’s one of the beautiful things about living in this part of the country, the diversity of the people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>La Misa Negra performs at The New Parish in Oakland on Sept. 22. More info \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7586615&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The beloved Oakland band captures the frenetic energy of their live shows on their new, self-titled project. ",
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"title": "La Misa Negra's Second Album Serves Cumbia With a Punk Attitude | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://lamisanegra.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra’s\u003c/a> music is so eclectic, the Oakland cumbia band wouldn’t sound out of place playing at a Latin club, dive bar, or even a Jewish wedding. At a typical live show, the group bursts onto the stage with a frenzy of drums and horns. Singer Diana Trujillo bounces to the beat, pirouetting on one foot and letting out a loud, throaty cry; guitarist Marco Polo Santiago headbangs while picking his guitar. \u003c/p>\n\u003cp>La Misa Negra has been lighting up dance floors with their high-energy brand of cumbia since 2011. Their second, self-titled studio album, due out on Sept. 29, draws on elements of hip-hop, Latin jazz, and even metal to create a sound band members describe as “hella bailable,” or hella danceable. \u003c/p>\n\u003cp>“Our number one mission is just to make people move,” says Santiago, La Misa Negra’s composer, guitarist, and accordion player.\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/12154739″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/12154739″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>La Misa Negra has come a long way from their first release, \u003cem>Misa De Medianoche\u003c/em>, which Santiago recorded on his laptop with a single microphone in 2013. Their new, self-titled project, nicknamed \u003cem>The Red Album\u003c/em>, was recorded in a much more professional setting, at Oakland’s 25th Street Recording; it captures the raw energy and musical prowess of its frenetic live shows. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>La Misa Negra’s sound might contain multi-regional influences, but it could only have been born in the Bay Area. Santiago came up in Los Angeles’ hip-hop and metal scenes, and his background is evident in the band’s hard-driving, percussive rhythms. In high school, he played trumpet and developed a deep love for horn lines. After moving to Oakland seven years ago, Santiago connected with a diverse collection of local players and formed a seven-piece band whose name translates to “the black mass.”\u003c/p>\n\u003cp>With La Misa Negra, Santiago sought to incorporate a variety of Latin and rock influences to create “something that sounds like Black Sabbath in Spanish.” Indeed, the band’s new record opens with an Afrobeat-inspired instrumental cover of the Sabbath tune “A National Acrobat.” Yet La Misa Negra’s energetic performances — which move at a rapid clip with furious drumming and Spanish-language vocals — are much more upbeat than the band’s name suggests.\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/340082617″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/340082617″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Much of La Misa Negra’s musical grit comes from Colombian-born vocalist Trujillo’s lyrics, which feature feminist themes and progressive political messages. Trujillo penned the cumbia scorcher from the forthcoming album, “Dueña de Mi” (“Boss of Myself”), after the Women’s March in Washington D.C. In it, she asserts her right to make her own decisions, including when to have children and obtain an education. “I am the owner of my destiny and I want to live it with freedom,” Trujillo sings in Spanish over Santiago’s crooning accordion.\u003c/p>\n\u003cp>“[The Women’s March] inspired me to make my own protest through music,” Trujillo writes in an email to KQED. “Women have been prohibited of expression in so many cultures and that’s what inspires me. I come from a very male, chauvinist society, which I protest with my songs.” \u003c/p>\n\u003cp>“The female role in Latin dance music is often relegated to a backup dancer or pretty girl in a bathing suit. I really wanted to have talented people in this band who weren’t just guys,” Santiago says, referring to saxophone and clarinet player Morgan Nilsen and the band’s massively talented percussionist, Elena De Troya. “We’re a multi-cultural band, a multi-gender band, and we embrace our differences. Equal treatment of all people is important to us.”\u003c/p>\n\u003cp>Gun violence, another important issue to the band, is the subject of “Pistola,” a salsa track from the new album. The topic hits close to home for Trujillo, who grew up in Colombia in the ’80s and ’90s when the country was besieged by government and guerilla violence. \u003c/p>\n\u003cp>“A lot of my relatives died during this time, including my own father,” Trujillo says. “I felt death very close so many times.”\u003c/p>\n\u003cfigure id=\"attachment_13809218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-800x401.jpg\" alt=\"La Misa Negra's seven members come from diverse musical backgrounds and walks of life.\" width=\"800\" height=\"401\" class=\"size-medium wp-image-13809218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-768x385.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/lmn_sop01_rgb_lg-520x261.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">La Misa Negra’s seven members come from diverse musical backgrounds and walks of life. \u003ccite>(Andrew Zhou)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although a good portion of La Misa Negra’s audience aren’t Spanish speakers and likely didn’t grow up listening to Latin music, the band members don’t see language as an issue. There’s no particular scene that shows up to get down, but almost everyone is stomping, jumping, or shaking their hips to the music regardless of age, gender, or ethnicity. \u003c/p>\n\u003cp>“This is beautiful. I look into the audience and it’s like a rainbow of faces,” Santiago says. \u003c/p>\n\u003cp>“That’s one of the beautiful things about living in this part of the country, the diversity of the people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>La Misa Negra performs at The New Parish in Oakland on Sept. 22. More info \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7586615&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week on the Do List, the cat (Cy Musiker) is away, and the mice (Gabe Meline and Suzie Racho) take over! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Now through Dec. 10\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/martin-wong-bampfa/\" target=\"_blank\" rel=\"noopener\">San Francisco-born painter Martin Wong gets a thorough retrospective of his gritty NYC work at BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/turning-ask-a-mexican-into-a-play/\" target=\"_blank\" rel=\"noopener\">Turning the syndicated column “Ask a Mexican” into a play, with a first staged reading in San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/norteno-anthems-for-wine-countrys-harvest-workers/\" target=\"_blank\" rel=\"noopener\">Norteño legends Los Tigres Del Norte play a Sonoma County show in the midst of the wine country’s harvest — fueled, as ever, by immigrant labor\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 24\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/a-day-of-free-chamber-music-jazz-experimental-music-and-more/\" target=\"_blank\" rel=\"noopener\">A day of free chamber music, jazz, experimental sounds and more at San Francisco Music Day, now in its 10th year\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 28\u003c/strong>: \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Richmond’s own Rayana Jay headlines a night of soul and hip-hop at the New Parish in Oakland\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Sept. 30\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/jimmy-pardo-docs-lab/\" target=\"_blank\" rel=\"noopener\">The \u003cem>Conan\u003c/em> regular and \u003cem>Never Not Funny\u003c/em> host Jimmy Pardo graces the historic North Beach stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "This week's picks include Los Tigres del Norte, Martin Wong, 'Ask a Mexican,' Jimmy Pardo, San Francisco Music Day and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week on the Do List, the cat (Cy Musiker) is away, and the mice (Gabe Meline and Suzie Racho) take over! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Now through Dec. 10\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/martin-wong-bampfa/\" target=\"_blank\" rel=\"noopener\">San Francisco-born painter Martin Wong gets a thorough retrospective of his gritty NYC work at BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/turning-ask-a-mexican-into-a-play/\" target=\"_blank\" rel=\"noopener\">Turning the syndicated column “Ask a Mexican” into a play, with a first staged reading in San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/norteno-anthems-for-wine-countrys-harvest-workers/\" target=\"_blank\" rel=\"noopener\">Norteño legends Los Tigres Del Norte play a Sonoma County show in the midst of the wine country’s harvest — fueled, as ever, by immigrant labor\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 24\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/a-day-of-free-chamber-music-jazz-experimental-music-and-more/\" target=\"_blank\" rel=\"noopener\">A day of free chamber music, jazz, experimental sounds and more at San Francisco Music Day, now in its 10th year\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28\u003c/strong>: \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Richmond’s own Rayana Jay headlines a night of soul and hip-hop at the New Parish in Oakland\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Sept. 30\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/09/20/jimmy-pardo-docs-lab/\" target=\"_blank\" rel=\"noopener\">The \u003cem>Conan\u003c/em> regular and \u003cem>Never Not Funny\u003c/em> host Jimmy Pardo graces the historic North Beach stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.sffcm.org/sfmusic-day/\" target=\"_blank\" rel=\"noopener\">San Francisco Music Day\u003c/a> was once called Chamber Music Day, but it’s expanded in size, scope and genre to encompass four stages in the War Memorial Opera House and Herbst Theater. And the sounds throughout the day encompass much more than chamber music these days.\u003c/p>\n\u003cp>Ten years in, the festival features over 35 different groups playing baroque music, classical, jazz, experimental music. So you’ll have the Alexander String Quartet, but you’ll also get Kulintronica, who fuses an ancient Filipino gong instrument with modern electronics, and the wild jazz of the Klaxon Mutant All-Stars. You might even hear new sounds from Amy X Neuberg (pictured), or a little Thelonious Monk played by Anthony Brown’s Asian-American Orchestra. (I always try to catch \u003ca href=\"https://www.youtube.com/watch?v=QBweGW7p_60\" target=\"_blank\" rel=\"noopener\">Howard Wiley\u003c/a> when I can, too.) \u003c/p>\n\u003cp>SF Music Day gets underway on Sunday, Sept. 24, from 11:30am to 7pm. \u003ca href=\"http://www.sffcm.org/sfmusic-day/\" target=\"_blank\" rel=\"noopener\">Full lineup and details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>San Jose’s own Los Tigres del Norte have put the immigrant experience into song for over 45 years now. On Sept. 23, they play at the \u003ca href=\"http://gmc.sonoma.edu/event/3539822-los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Green Music Center in Sonoma County\u003c/a>, where the wine industry is in full-on harvest mode – fueled, as always, by immigrant labor. When I \u003ca href=\"https://www.bohemian.com/northbay/border-radio/Content?oid=2280750&showFullText=true\" target=\"_blank\" rel=\"noopener\">talked to singer Jorge Hernández recently\u003c/a>, he told me about driving through wine country one day and stopping to talk to the vineyard workers — resulting in the song “De Paisano a Paisano,” where workers in fields, farms, vineyards, and restaurants break their backs while their bosses live in luxurious mansions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DsXxVI9nvQk\u003c/p>\n\u003cp>But… will they play “De Paisano a Paisano” in Sonoma County? That’s anyone’s guess, because they usually play songs by request only. People in the audience write song titles on scraps of paper and pass them up through the crowd to the stage, and when a song’s over, the band picks up one of the crumpled pieces of paper and plays whatever song’s written on it. This goes on for three hours, sometimes four — and that’s a Los Tigres concert. With the large back door of the Green Music Center open to the expansive lawn, expect a family-friendly party. \u003ca href=\"http://gmc.sonoma.edu/event/3539822-los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Jose’s own Los Tigres del Norte have put the immigrant experience into song for over 45 years now. On Sept. 23, they play at the \u003ca href=\"http://gmc.sonoma.edu/event/3539822-los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Green Music Center in Sonoma County\u003c/a>, where the wine industry is in full-on harvest mode – fueled, as always, by immigrant labor. When I \u003ca href=\"https://www.bohemian.com/northbay/border-radio/Content?oid=2280750&showFullText=true\" target=\"_blank\" rel=\"noopener\">talked to singer Jorge Hernández recently\u003c/a>, he told me about driving through wine country one day and stopping to talk to the vineyard workers — resulting in the song “De Paisano a Paisano,” where workers in fields, farms, vineyards, and restaurants break their backs while their bosses live in luxurious mansions.\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/DsXxVI9nvQk'\n title='//www.youtube.com/embed/DsXxVI9nvQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But… will they play “De Paisano a Paisano” in Sonoma County? That’s anyone’s guess, because they usually play songs by request only. People in the audience write song titles on scraps of paper and pass them up through the crowd to the stage, and when a song’s over, the band picks up one of the crumpled pieces of paper and plays whatever song’s written on it. This goes on for three hours, sometimes four — and that’s a Los Tigres concert. With the large back door of the Green Music Center open to the expansive lawn, expect a family-friendly party. \u003ca href=\"http://gmc.sonoma.edu/event/3539822-los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests",
"headTitle": "Meet Brass Liberation Orchestra, a Radical Brass Band Drumming Up Energy At Protests | KQED",
"content": "\u003cp>Earlier this month at the Defend \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> protest in downtown Oakland, \u003ca href=\"http://brassliberation.org/\" target=\"_blank\" rel=\"noopener\">Brass Liberation Orchestra\u003c/a> marched among the crowd like pied pipers of the resistance, drawing passersby into the procession with their jovial horns. The band members took turns as conductors, using hand gestures to quiet the brass instruments so protesters could chant along to the drum line’s beat: “El pueblo únido jamás será vencido! / The people united will never be divided!” \u003c/p>\n\u003cp>People who happened to show up to the march with musical instruments — including one person with an Afro-Brazilian \u003ca href=\"https://www.britannica.com/art/berimbau\" target=\"_blank\" rel=\"noopener\">berimbau\u003c/a> — spontaneously joined the Orchestra as it marched through the streets. This is how Brass Liberation Orchestra has acquired most of its 20-something members: Through serendipitous run-ins at actions. The sprawling, multi-generational brass band has drummed up energy at Bay Area protests since the early 2000s, and most of its musicians encountered Brass Liberation Orchestra at a march before deciding to pick up their instruments and join. \u003c/p>\n\u003cfigure id=\"attachment_13809020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg\" alt=\"Brass Liberation Orchestra has over 20 members of all ages. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brass Liberation Orchestra has over 20 members of all ages. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-time musician going only by the name Breakfast, with salt-and-pepper hair and a pink fedora, remembers attending an Occupy protest in San Francisco in 2012, saxophone in hand, when he spotted Brass Liberation Orchestra. When rumors circulated that police would raid the camp that night, protesters divided themselves into two groups: One to defend the camp and one that didn’t want to risk arrest. Brass Liberation Orchestra was in charge of leading the second group to safety by using their music to guide people away from the conflict zone. \u003c/p>\n\u003cp>“Wow, so all these musicians have shown up and they have a functional role,” recalls Breakfast when I meet him and several other members of Brass Liberation Orchestra at a dive bar in the Mission district, before they head out to busk on a recent Friday night. “It’s not for expression or entertainment or any of these other roles we normally assign music to. Its role was to protect people’s physical safety.”\u003c/p>\n\u003cp>Candy Michelle Smallwood, an eviction defense lawyer by day, first heard Brass Liberation Orchestra at an anti-eviction march two years ago when she worked at the \u003ca href=\"http://hrcsf.org/\" target=\"_blank\" rel=\"noopener\">Housing Rights Committee of San Francisco\u003c/a>. “There was this really awesome march that started at Dolores Park and went to different houses where people were facing eviction. Through this whole march — which lasted about two hours — there was this band that was playing.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smallwood was so inspired she got her flute out of storage. Two years later, she’s still with the Brass Liberation Orchestra as an alto saxophonist. Like Smallwood and Breakfast, Brass Liberation Orchestra members come from diverse professions and musical backgrounds: Some are rigorously trained musicians while others hadn’t played their instruments since the high school marching band. Sousaphone player Geoff Lee, for example, is a philosophy professor at UC Berkeley; his wife and fellow band member, drummer Deepa Varma, is the executive director of the \u003ca href=\"https://www.sftu.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Tenants’ Union\u003c/a>. \u003c/p>\n\u003cp>Brass Liberation Orchestra’s musical selections, while fun and upbeat, are charged with political meaning: The band has several songs in its repertoire from Afrobeat pioneer and human rights activist Fela Kuti. Anthems of Latin American resistance, like Los Fabulosos Cadillacs’ “\u003ca href=\"https://www.youtube.com/watch?v=pjPA7CXutDw\" target=\"_blank\" rel=\"noopener\">Matador\u003c/a>,” are also on rotation, as well as familiar pop songs like Eurythmics’ “Sweet Dreams.” In keeping with the band’s anti-capitalist spirit, Brass Liberation Orchestra’s \u003ca href=\"http://brassliberation.org/sheetmusic.php\" target=\"_blank\" rel=\"noopener\">sheet music\u003c/a> is available on its website for free. \u003c/p>\n\u003cp>https://youtu.be/uJUBE8xpHVk\u003c/p>\n\u003cp>Brass Liberation Orchestra’s membership often increases parallel to major political events: The group first gained momentum around the anti-Iraq war protests of the early- and mid-2000s; many new members came along during the Occupy movement and, more recently, anti-Trump rallies. The band has performed at the 2014 Climate March in New York, workers’ strikes, racial justice rallies, and eviction blockades. Oftentimes, it uses its music for functional purposes: Guiding protest chants, disturbing the peace of predatory landlords and exploitative employers, drowning out white supremacists, and busking to raise money for victims of Hurricane Harvey and Charlottesville. \u003c/p>\n\u003cp>“At our best, we can diffuse tension, offer moral support, or bring joy to people risking arrest,” says drummer Joshua Cohen, who has a day job as a hospice social worker.\u003c/p>\n\u003cp>Brass Liberation Orchestra is part of a growing movement of radical brass bands that started in the late ’90s and early 2000s: \u003ca href=\"http://www.extra-action.com/\" target=\"_blank\" rel=\"noopener\">Extra Action Marching Band\u003c/a>, a like-minded group from Oakland, went on to tour with David Byrne. Cohen refers to New York’s \u003ca href=\"http://rudemechanicalorchestra.org/\" target=\"_blank\" rel=\"noopener\">Rude Mechanical Orchestra\u003c/a> as Brass Liberation Orchestra’s sister band. Some former members of Brass Liberation Orchestra have also relocated to other states and founded similar bands in their cities, many of which meet up at \u003ca href=\"http://honkfest.org/\" target=\"_blank\" rel=\"noopener\">HONK!\u003c/a>, a festival for activist street bands that takes place in various cities around the country. \u003c/p>\n\u003cfigure id=\"attachment_13809019\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg\" alt=\"A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we wrap up our interview, the members of Brass Liberation Orchestra pack up their saxophones and tubas to head to the corner of 18th and Valencia. Today, they’re busking to raise money for their trip to HONK! — a rare occasion, they tell me, where they collect money for themselves instead of a cause. I expect to see a few passersby drop dollar bills into an open saxophone case, but two songs in, a large crowd has already amassed. A woman shows up with a musical saw and joins the ensemble. Couples on dinner dates, families with strollers, and groups of friends getting ready to hit the town all cluster in close to avoid oncoming traffic as they watch the band.\u003c/p>\n\u003cp>As the band members catch their breath, trumpet player Jordan Baxter Stern introduces the next song, Nile Rogers’ “Do What You Wanna”: “We’re all about doing what you wanna unless you’re a rich asshole, in which case, you should give all your money away and do what other people tell you to do.” \u003c/p>\n\u003cp>Judging by their whoops and hollers, the crowd approves. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month at the Defend \u003ca href=\"https://ww2.kqed.org/news/2017/09/05/trump-ends-daca-calls-on-congress-to-act/\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> protest in downtown Oakland, \u003ca href=\"http://brassliberation.org/\" target=\"_blank\" rel=\"noopener\">Brass Liberation Orchestra\u003c/a> marched among the crowd like pied pipers of the resistance, drawing passersby into the procession with their jovial horns. The band members took turns as conductors, using hand gestures to quiet the brass instruments so protesters could chant along to the drum line’s beat: “El pueblo únido jamás será vencido! / The people united will never be divided!” \u003c/p>\n\u003cp>People who happened to show up to the march with musical instruments — including one person with an Afro-Brazilian \u003ca href=\"https://www.britannica.com/art/berimbau\" target=\"_blank\" rel=\"noopener\">berimbau\u003c/a> — spontaneously joined the Orchestra as it marched through the streets. This is how Brass Liberation Orchestra has acquired most of its 20-something members: Through serendipitous run-ins at actions. The sprawling, multi-generational brass band has drummed up energy at Bay Area protests since the early 2000s, and most of its musicians encountered Brass Liberation Orchestra at a march before deciding to pick up their instruments and join. \u003c/p>\n\u003cfigure id=\"attachment_13809020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg\" alt=\"Brass Liberation Orchestra has over 20 members of all ages. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO4-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brass Liberation Orchestra has over 20 members of all ages. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A full-time musician going only by the name Breakfast, with salt-and-pepper hair and a pink fedora, remembers attending an Occupy protest in San Francisco in 2012, saxophone in hand, when he spotted Brass Liberation Orchestra. When rumors circulated that police would raid the camp that night, protesters divided themselves into two groups: One to defend the camp and one that didn’t want to risk arrest. Brass Liberation Orchestra was in charge of leading the second group to safety by using their music to guide people away from the conflict zone. \u003c/p>\n\u003cp>“Wow, so all these musicians have shown up and they have a functional role,” recalls Breakfast when I meet him and several other members of Brass Liberation Orchestra at a dive bar in the Mission district, before they head out to busk on a recent Friday night. “It’s not for expression or entertainment or any of these other roles we normally assign music to. Its role was to protect people’s physical safety.”\u003c/p>\n\u003cp>Candy Michelle Smallwood, an eviction defense lawyer by day, first heard Brass Liberation Orchestra at an anti-eviction march two years ago when she worked at the \u003ca href=\"http://hrcsf.org/\" target=\"_blank\" rel=\"noopener\">Housing Rights Committee of San Francisco\u003c/a>. “There was this really awesome march that started at Dolores Park and went to different houses where people were facing eviction. Through this whole march — which lasted about two hours — there was this band that was playing.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smallwood was so inspired she got her flute out of storage. Two years later, she’s still with the Brass Liberation Orchestra as an alto saxophonist. Like Smallwood and Breakfast, Brass Liberation Orchestra members come from diverse professions and musical backgrounds: Some are rigorously trained musicians while others hadn’t played their instruments since the high school marching band. Sousaphone player Geoff Lee, for example, is a philosophy professor at UC Berkeley; his wife and fellow band member, drummer Deepa Varma, is the executive director of the \u003ca href=\"https://www.sftu.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Tenants’ Union\u003c/a>. \u003c/p>\n\u003cp>Brass Liberation Orchestra’s musical selections, while fun and upbeat, are charged with political meaning: The band has several songs in its repertoire from Afrobeat pioneer and human rights activist Fela Kuti. Anthems of Latin American resistance, like Los Fabulosos Cadillacs’ “\u003ca href=\"https://www.youtube.com/watch?v=pjPA7CXutDw\" target=\"_blank\" rel=\"noopener\">Matador\u003c/a>,” are also on rotation, as well as familiar pop songs like Eurythmics’ “Sweet Dreams.” In keeping with the band’s anti-capitalist spirit, Brass Liberation Orchestra’s \u003ca href=\"http://brassliberation.org/sheetmusic.php\" target=\"_blank\" rel=\"noopener\">sheet music\u003c/a> is available on its website for free. \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/uJUBE8xpHVk'\n title='//www.youtube.com/embed/uJUBE8xpHVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brass Liberation Orchestra’s membership often increases parallel to major political events: The group first gained momentum around the anti-Iraq war protests of the early- and mid-2000s; many new members came along during the Occupy movement and, more recently, anti-Trump rallies. The band has performed at the 2014 Climate March in New York, workers’ strikes, racial justice rallies, and eviction blockades. Oftentimes, it uses its music for functional purposes: Guiding protest chants, disturbing the peace of predatory landlords and exploitative employers, drowning out white supremacists, and busking to raise money for victims of Hurricane Harvey and Charlottesville. \u003c/p>\n\u003cp>“At our best, we can diffuse tension, offer moral support, or bring joy to people risking arrest,” says drummer Joshua Cohen, who has a day job as a hospice social worker.\u003c/p>\n\u003cp>Brass Liberation Orchestra is part of a growing movement of radical brass bands that started in the late ’90s and early 2000s: \u003ca href=\"http://www.extra-action.com/\" target=\"_blank\" rel=\"noopener\">Extra Action Marching Band\u003c/a>, a like-minded group from Oakland, went on to tour with David Byrne. Cohen refers to New York’s \u003ca href=\"http://rudemechanicalorchestra.org/\" target=\"_blank\" rel=\"noopener\">Rude Mechanical Orchestra\u003c/a> as Brass Liberation Orchestra’s sister band. Some former members of Brass Liberation Orchestra have also relocated to other states and founded similar bands in their cities, many of which meet up at \u003ca href=\"http://honkfest.org/\" target=\"_blank\" rel=\"noopener\">HONK!\u003c/a>, a festival for activist street bands that takes place in various cities around the country. \u003c/p>\n\u003cfigure id=\"attachment_13809019\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg\" alt=\"A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13809019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BLO1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch Brass Liberation Orchestra busk on the corner of 18th and Valencia Streets. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we wrap up our interview, the members of Brass Liberation Orchestra pack up their saxophones and tubas to head to the corner of 18th and Valencia. Today, they’re busking to raise money for their trip to HONK! — a rare occasion, they tell me, where they collect money for themselves instead of a cause. I expect to see a few passersby drop dollar bills into an open saxophone case, but two songs in, a large crowd has already amassed. A woman shows up with a musical saw and joins the ensemble. Couples on dinner dates, families with strollers, and groups of friends getting ready to hit the town all cluster in close to avoid oncoming traffic as they watch the band.\u003c/p>\n\u003cp>As the band members catch their breath, trumpet player Jordan Baxter Stern introduces the next song, Nile Rogers’ “Do What You Wanna”: “We’re all about doing what you wanna unless you’re a rich asshole, in which case, you should give all your money away and do what other people tell you to do.” \u003c/p>\n\u003cp>Judging by their whoops and hollers, the crowd approves. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lido Pimienta Takes the Polaris Prize Over Leonard Cohen, Feist",
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"content": "\u003cp>“It’s pretty amazing what you can do when people are not watching,” \u003ca href=\"http://www.thefader.com/2016/10/31/lido-pimienta-la-papessa\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the classically trained, Toronto-based, and Colombia-born singer and producer Lido Pimienta of the creative process behind her album \u003cem>La Papessa\u003c/em>, the freshly named winner of this year’s Polaris Prize. The prize, which includes $50,000, is \u003ca href=\"https://polarismusicprize.ca/blog/lido-pimientas-la-papessa-has-won-the-2017-polaris-music-prize/\" target=\"_blank\" rel=\"noopener\">intended\u003c/a> to recognize the “best Canadian album of the year based on artistic merit without regard to genre, sales history or label affiliation.”\u003c/p>\n\u003cp>After an evening to process her win, Pimiento \u003ca href=\"https://twitter.com/LidoPimienta/status/910108210241183744\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter that the “outpouring of love is overwhelming. Daze and confusion persist. I’ll write more thanks after I drop my son at school ok?”\u003c/p>\n\u003cp>\u003cem>La Papessa\u003c/em> (\u003cem>High Priestess\u003c/em>) — a swirling commingling of dense electronic production, Latin rhythms and swells of Pimiento’s precise, thunderous voice — overcame strong competition from short-listed nominees \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/14900320/feist\" target=\"_blank\" rel=\"noopener\">Feist\u003c/a>, \u003ca href=\"http://www.npr.org/artists/520245312/badbadnotgood\" target=\"_blank\" rel=\"noopener\">BADBADNOTGOOD\u003c/a> and beloved Canadian rocker Gord Downie, former singer of \u003ca href=\"http://www.npr.org/artists/14956827/the-tragically-hip\" target=\"_blank\" rel=\"noopener\">The Tragically Hip\u003c/a>. (Cohen also had a posthumous video debut during the show, which \u003ca href=\"http://www.npr.org/event/music/552045365/watch-a-heartbreakingly-beautiful-tribute-to-leonard-cohen\">you can watch here\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytyXbEgQKuo\u003c/p>\n\u003cp>The Polaris Prize takes a unique and sometimes brutal approach to selecting each year’s winner, beginning with 196 jurors — “members of local and national media” — and nearly as many albums. Each juror’s top-five votes are tallied, winnowing the long list of nominees down to 40, then down to 11. This is where it gets interesting, as explained in a \u003ca href=\"http://www.billboard.com/articles/business/6259131/drake-vs-mac-demarco-a-behind-the-scenes-look-at-the-polaris-prize\">\u003cem>Billboard\u003c/em> piece\u003c/a> from three years ago. Each of the 11 nominated albums is assigned a “champion” juror, all of whom debate the prize (and none of whom are allowed to have any financial connection to the record they’re representing) while the show is taking place — meaning no one, not even the show’s topmost organizers, know who will be named winner until the end of the evening. \u003cem>[Disclosure: Talia Schlanger, host of \u003ca href=\"http://www.npr.org/sections/world-cafe/\" target=\"_blank\" rel=\"noopener\">World Cafe\u003c/a>\u003c/em>\u003cem> from member station \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a> and a regular contributor to NPR Music, was a long-list judge of this year’s awards.]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps because of that protracted process, performers are given ample time on stage (particularly if you contrast them with the luxe megawatts of the Grammys or the Brit Awards) to stretch. When \u003ca href=\"http://www.npr.org/artists/99737159/tanya-tagaq-gillis\" target=\"_blank\" rel=\"noopener\">Tanya Tagaq\u003c/a> won in 2014 she took nearly twelve-and-a-half minutes on the stage, ending with a cover of \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s “Rape Me,” during which audience members stood up as part of the REDress Project, “an aesthetic response” to missing and murdered aboriginal Canadian women, as the CBC \u003ca href=\"http://www.cbcmusic.ca/posts/19050/highlights-from-the-2017-polaris-music-prize-gala\">reported\u003c/a>.\u003c/p>\n\u003cp>Pimienta, who didn’t prepare a speech, said in accepting her award: “I hope that the Aryan specimen who told me to go back to my country, two weeks after I arrived in London, Ontario, Canada, is watching this,” before going to “to thank my beautiful mother … for being so resilient, and for enduring white supremacy in Canada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"https://www.youtube.com/watch?v=nYOEUZdikBI\">watch the entire show here\u003c/a>\u003c/em>\u003cem>.\u003c/em> \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=Lido+Pimienta+Takes+The+Polaris+Prize+Over+Leonard+Cohen%2C+Feist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Colombia-born, Toronto-based singer beat out some of Canada's most beloved artists, winning after Polaris' unique jury system found her album 'La Papessa' to be the country's best of the year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s pretty amazing what you can do when people are not watching,” \u003ca href=\"http://www.thefader.com/2016/10/31/lido-pimienta-la-papessa\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the classically trained, Toronto-based, and Colombia-born singer and producer Lido Pimienta of the creative process behind her album \u003cem>La Papessa\u003c/em>, the freshly named winner of this year’s Polaris Prize. The prize, which includes $50,000, is \u003ca href=\"https://polarismusicprize.ca/blog/lido-pimientas-la-papessa-has-won-the-2017-polaris-music-prize/\" target=\"_blank\" rel=\"noopener\">intended\u003c/a> to recognize the “best Canadian album of the year based on artistic merit without regard to genre, sales history or label affiliation.”\u003c/p>\n\u003cp>After an evening to process her win, Pimiento \u003ca href=\"https://twitter.com/LidoPimienta/status/910108210241183744\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter that the “outpouring of love is overwhelming. Daze and confusion persist. I’ll write more thanks after I drop my son at school ok?”\u003c/p>\n\u003cp>\u003cem>La Papessa\u003c/em> (\u003cem>High Priestess\u003c/em>) — a swirling commingling of dense electronic production, Latin rhythms and swells of Pimiento’s precise, thunderous voice — overcame strong competition from short-listed nominees \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/14900320/feist\" target=\"_blank\" rel=\"noopener\">Feist\u003c/a>, \u003ca href=\"http://www.npr.org/artists/520245312/badbadnotgood\" target=\"_blank\" rel=\"noopener\">BADBADNOTGOOD\u003c/a> and beloved Canadian rocker Gord Downie, former singer of \u003ca href=\"http://www.npr.org/artists/14956827/the-tragically-hip\" target=\"_blank\" rel=\"noopener\">The Tragically Hip\u003c/a>. (Cohen also had a posthumous video debut during the show, which \u003ca href=\"http://www.npr.org/event/music/552045365/watch-a-heartbreakingly-beautiful-tribute-to-leonard-cohen\">you can watch here\u003c/a>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ytyXbEgQKuo'\n title='//www.youtube.com/embed/ytyXbEgQKuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Polaris Prize takes a unique and sometimes brutal approach to selecting each year’s winner, beginning with 196 jurors — “members of local and national media” — and nearly as many albums. Each juror’s top-five votes are tallied, winnowing the long list of nominees down to 40, then down to 11. This is where it gets interesting, as explained in a \u003ca href=\"http://www.billboard.com/articles/business/6259131/drake-vs-mac-demarco-a-behind-the-scenes-look-at-the-polaris-prize\">\u003cem>Billboard\u003c/em> piece\u003c/a> from three years ago. Each of the 11 nominated albums is assigned a “champion” juror, all of whom debate the prize (and none of whom are allowed to have any financial connection to the record they’re representing) while the show is taking place — meaning no one, not even the show’s topmost organizers, know who will be named winner until the end of the evening. \u003cem>[Disclosure: Talia Schlanger, host of \u003ca href=\"http://www.npr.org/sections/world-cafe/\" target=\"_blank\" rel=\"noopener\">World Cafe\u003c/a>\u003c/em>\u003cem> from member station \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a> and a regular contributor to NPR Music, was a long-list judge of this year’s awards.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps because of that protracted process, performers are given ample time on stage (particularly if you contrast them with the luxe megawatts of the Grammys or the Brit Awards) to stretch. When \u003ca href=\"http://www.npr.org/artists/99737159/tanya-tagaq-gillis\" target=\"_blank\" rel=\"noopener\">Tanya Tagaq\u003c/a> won in 2014 she took nearly twelve-and-a-half minutes on the stage, ending with a cover of \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s “Rape Me,” during which audience members stood up as part of the REDress Project, “an aesthetic response” to missing and murdered aboriginal Canadian women, as the CBC \u003ca href=\"http://www.cbcmusic.ca/posts/19050/highlights-from-the-2017-polaris-music-prize-gala\">reported\u003c/a>.\u003c/p>\n\u003cp>Pimienta, who didn’t prepare a speech, said in accepting her award: “I hope that the Aryan specimen who told me to go back to my country, two weeks after I arrived in London, Ontario, Canada, is watching this,” before going to “to thank my beautiful mother … for being so resilient, and for enduring white supremacy in Canada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"https://www.youtube.com/watch?v=nYOEUZdikBI\">watch the entire show here\u003c/a>\u003c/em>\u003cem>.\u003c/em> \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=Lido+Pimienta+Takes+The+Polaris+Prize+Over+Leonard+Cohen%2C+Feist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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