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"content": "\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" 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/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" 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/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\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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"title": "'Pharma Bro' Martin Shkreli Lists his Wu-Tang Album on eBay",
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"content": "\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
"headTitle": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
"content": "\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\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 fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\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": "\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we welcome \u003cem>SF Weekly\u003c/em> theater columnist Jeffrey Edalatpour for a preview of the fall’s most intriguing plays, many of which tackle issues of race, sexuality, and religion. The list includes Taylor’s Mac’s epic “radical faerie” take on American history, as well as a play so violent it comes with trigger warnings and a world premiere musical about what may be the greatest soul band ever, The Temptations.\u003c/p>\n\u003cp>\u003cstrong>Sept. 15–27:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVYZ\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac brings his epic \u003cem>24-Decade History of Popular Music\u003c/em> back to the Bay Area.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 28–Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZ5\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Bradshaw’s \u003cem>Thomas and Sally\u003c/em> at the Marin Theatre Company goes under the covers with our founding fathers and their bedmates in a world premiere.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26–Nov. 11: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZB\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse presents Robert O’Hara’s \u003cem>Barbecue\u003c/em>, a play about a family intervention and race\u003cb>.\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 8–23: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVZO\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Fringe Festival showcases more than 30 plays from the silly to serious.\u003c/a>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–Oct. 7:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW0K\" target=\"_blank\" rel=\"noopener noreferrer\">Christopher Chen’s \u003cem>A Tale of Autumn\u003c/em> tells a tale of corporate succession recalling Shakespeare and Game of Thrones\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 21–Oct. 22:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blasted\u003c/em> at Shotgun Players takes us into a horrifying bedroom in the midst of a war zone. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sept. 12–Oct. 8:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW0B\" target=\"_blank\" rel=\"noopener noreferrer\"> Adapting \u003cem>An American in Paris\u003c/em> for the stage and getting it right. Maybe.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–Nov. 5: \u003c/strong>\u003ca href=\"https://theatreworks.org/201718-season/201718-season/prince-of-egypt/\" target=\"_blank\" rel=\"noopener noreferrer\">The Exodus story as imagined by Dreamworks and adapted into a stage musical.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 31–-Oct. 22: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VW08\" target=\"_blank\" rel=\"noopener noreferrer\">The story of the greatest soul band ever at Berkeley Rep.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Aug. 31-Oct. 22:\u003c/strong> Both my co-host Jeffrey Edalatpour and I are keen to see the songs of The Temptations performed live by talented actors and dancers in \u003cem>Ain’t Too Proud: The Life and Times of the Temptations,\u003c/em> a world premiere about the band’s early days at Berkeley Repertory Theater. But we’ve both been underwhelmed in the past by jukebox musicals. (\u003cem>Motown\u003c/em>, the Berry Gordy produced musical, which covered some of this same ground, was hugely disappointing.) Still, we have hope, because playwright \u003ca href=\"https://www.nytimes.com/2017/08/21/theater/dominique-morisseau-the-first-time-i-imagined-i-was-pregnant.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">Dominique Morisseau\u003c/a> is writing the book, and she’s known for her three-play cycle about her hometown \u003cem>The Detroit Projects\u003c/em>. As Jeffrey notes, she’s not going to ignore the social and political context of being black in America at the height of the civil rights movement. It’s no surprise, also, that the production team is loaded with Broadway veterans like director Des McAnuff (\u003cem>Jersey Boys, Guys and Dolls, Jesus Christ Superstar\u003c/em>), and Broadway is probably where this show will go after its Berkeley run. \u003ca href=\"https://www.berkeleyrep.org/season/1718/12025.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fxe60GVW034&t=121s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Facebook is reportedly offering major record labels and music publishers hundreds of millions of dollars so its users can legally include songs in videos they upload, according to \u003ca href=\"https://www.bloomberg.com/news/articles/2017-09-05/facebook-said-to-offer-hundreds-of-millions-for-music-rights\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg\u003c/a>.\u003c/p>\n\u003cp>The online social media giant declined to comment on what it terms “rumors and speculation.”\u003c/p>\n\u003cp>“Music to my ears,” Peter Menell writes KQED\u003cstrong>.\u003c/strong> He directs the \u003ca href=\"https://www.law.berkeley.edu/research/bclt/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Berkeley Center for Law & Technology\u003c/a>. He adds, “It does not solve the problem of how much gets back to composers/artists, but it is good to see the music and technology sectors working together to improve user experience and enjoyment of music.”\u003c/p>\n\u003cp>Apparently, many of us have been breaking copyright law uploading videos on Facebook, unless we only post videos where the copyright owner of the music used has given us permission. It’s not just music videos we’re posting, but also other videos that happen to feature music for which we and Facebook do not have the rights.\u003c/p>\n\u003cp>Most of the videos embedded on Facebook are uploaded by individuals. But in recent days, Facebook has rolled out a new video hub known as “\u003ca href=\"https://www.facebook.com/watch/?from=bookmark\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a>” through which the company curates content, including original video series financed by Facebook. That means more videos, many of them with music included. Think about it: there’s music under so much news and \u003ca href=\"https://www.facebook.com/whatsgoodinyourhood/videos/259913081186920/\" target=\"_blank\" rel=\"noopener noreferrer\">entertainment\u003c/a> we like to watch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music copyright owners have been negotiating with Facebook in recent years, and they can ask Facebook to\u003ca href=\"https://www.facebook.com/help/1020633957973118?helpref=hc_global_nav\" target=\"_blank\" rel=\"noopener noreferrer\"> take down videos\u003c/a> with infringing material. Facebook is also working on developing tools to identify and tag music that fails to meet copyright standards.\u003c/p>\n\u003cp>Facebook’s deeper move into the world of video looks like an overt \u003cspan style=\"font-weight: 400\">attempt to rival YouTube for video traffic. \u003c/span>\u003c/p>\n\u003cp>Since 2014, users of Google’s immensely popular online video platform have been able to preemptively \u003ca href=\"http://youtubecreator.blogspot.com/2014/12/mystery-solved-what-happens-when-you.html\" target=\"_blank\" rel=\"noopener noreferrer\">anticipate\u003c/a> what will happen to their videos if they include copyrighted music. Artists and labels can a) block a video, b) mute the music, or c) run ads to make money from a video.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube also offers a large selection of \u003ca href=\"https://support.google.com/youtube/answer/3376882\" target=\"_blank\" rel=\"noopener noreferrer\">royalty-free tracks.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Facebook is reportedly offering major record labels and music publishers hundreds of millions of dollars so its users can legally include songs in videos they upload, according to \u003ca href=\"https://www.bloomberg.com/news/articles/2017-09-05/facebook-said-to-offer-hundreds-of-millions-for-music-rights\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg\u003c/a>.\u003c/p>\n\u003cp>The online social media giant declined to comment on what it terms “rumors and speculation.”\u003c/p>\n\u003cp>“Music to my ears,” Peter Menell writes KQED\u003cstrong>.\u003c/strong> He directs the \u003ca href=\"https://www.law.berkeley.edu/research/bclt/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Berkeley Center for Law & Technology\u003c/a>. He adds, “It does not solve the problem of how much gets back to composers/artists, but it is good to see the music and technology sectors working together to improve user experience and enjoyment of music.”\u003c/p>\n\u003cp>Apparently, many of us have been breaking copyright law uploading videos on Facebook, unless we only post videos where the copyright owner of the music used has given us permission. It’s not just music videos we’re posting, but also other videos that happen to feature music for which we and Facebook do not have the rights.\u003c/p>\n\u003cp>Most of the videos embedded on Facebook are uploaded by individuals. But in recent days, Facebook has rolled out a new video hub known as “\u003ca href=\"https://www.facebook.com/watch/?from=bookmark\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a>” through which the company curates content, including original video series financed by Facebook. That means more videos, many of them with music included. Think about it: there’s music under so much news and \u003ca href=\"https://www.facebook.com/whatsgoodinyourhood/videos/259913081186920/\" target=\"_blank\" rel=\"noopener noreferrer\">entertainment\u003c/a> we like to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music copyright owners have been negotiating with Facebook in recent years, and they can ask Facebook to\u003ca href=\"https://www.facebook.com/help/1020633957973118?helpref=hc_global_nav\" target=\"_blank\" rel=\"noopener noreferrer\"> take down videos\u003c/a> with infringing material. Facebook is also working on developing tools to identify and tag music that fails to meet copyright standards.\u003c/p>\n\u003cp>Facebook’s deeper move into the world of video looks like an overt \u003cspan style=\"font-weight: 400\">attempt to rival YouTube for video traffic. \u003c/span>\u003c/p>\n\u003cp>Since 2014, users of Google’s immensely popular online video platform have been able to preemptively \u003ca href=\"http://youtubecreator.blogspot.com/2014/12/mystery-solved-what-happens-when-you.html\" target=\"_blank\" rel=\"noopener noreferrer\">anticipate\u003c/a> what will happen to their videos if they include copyrighted music. Artists and labels can a) block a video, b) mute the music, or c) run ads to make money from a video.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube also offers a large selection of \u003ca href=\"https://support.google.com/youtube/answer/3376882\" target=\"_blank\" rel=\"noopener noreferrer\">royalty-free tracks.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Blending insistent, almost tribal rhythms with keening guitars, keyboards, and electronics, Can were among the top German bands of the 1970s. It was something of a miracle, however, that the musicians came together in the first place to play rock. Their backgrounds were in jazz, classical music, and avant-garde composition. Yet they were determined to somehow become a rock band, dissatisfied with the stifling conventions of the more “serious” music in which they’d been schooled.\u003c/p>\n\u003cp>Improvising much of their material, and dedicated to creating their own style rather than emulating American and British rock trends, Can left much of their very career path to chance. When original singer Malcolm Mooney left after their 1969 debut album \u003cem>Monster Movie\u003c/em> to return to the United States, he was replaced by Damo Suzuki, a Japanese busker whom bassist Holger Czukay spotted in a Munich cafe. Suzuki gave his first concert with Can that night, and over the next few years his stream-of-consciousness vocals almost acted as another instrument in the ensemble. Meaning was conveyed by the nuances of his mumbles and hums as much as the actual English lyrics he sang. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Can were at their peak, they were barely known in the United States. Over the last few decades, however, they’ve built a substantial American cult following. Indeed, their minimalist approach, spontaneity, and incorporation of avant-garde concepts and electronics proved influential on underground bands all over the globe. Sadly, several of the core members of Can are no longer with us. The latest to pass was Czukay, who died near Köln on Sept. 5, aged 79, after a lengthy post-Can solo career.\u003c/p>\n\u003cp>Holger spoke to me from San Francisco’s Phoenix hotel on Jan. 18, 1997, for the chapter on Can in my book \u003cem>Unknown Legends of Rock’n’Roll\u003c/em>. The transcript of the interview appears here for the first time. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>When Can began, the band had little experience with rock music. But you became a rock band.\u003c/strong>\u003c/p>\n\u003cp>We were bloody beginners altogether. Maybe except Jaki Liebezeit, the drummer. Jaki was quite experienced. He played one year with Chet Baker in Barcelona, and was a real jazz drummer. But the rest of Can was different. I was just nothing. I just studied with [composer Karlheinz] Stockhausen; I didn’t have any practical experience. I had some sort of weird ideas. [Michael] Karoli, the guitar player, was my pupil, and he started to study law. He had nothing in his hand too.\u003c/p>\n\u003cp>We were all bloody new beginners, and tried somehow to grow out of our soil. Irmin [Schmidt], he had some sort of experience being a conductor. But he was a beginner in playing in such a group. [Even] counting until four, he had really sort of big problems in the very beginning. [As did] every one of us.\u003c/p>\n\u003cp>\u003cstrong>What were Can’s main influences from the world of rock, as opposed to classical and avant-garde?\u003c/strong>\u003c/p>\n\u003cp>The influence, for me, of Beatles and Velvet Underground was most important. The Velvet Underground especially. They had something achieved which others didn’t achieve. Even Jimi Hendrix didn’t achieve [what they did]. One could have the opinion that this group is not able to play really properly right. They didn’t get the right rhythm, they couldn’t make a real tight rhythm. But the music was incredibly convincing.\u003c/p>\n\u003cp>This feeling made us encouraged to go on with rock music in general, instead of making avant-garde academic music. We liked to do something without notation. We didn’t want to read music off papers. We really tried to make instant compositions from the very beginning. This Can tradition actually [was] achieved very much when we played live.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What do you see as Can’s influence on German and European progressive music?\u003c/strong>\u003c/p>\n\u003cp>People of our generation, I think they were not influenced at all. When they attended Can concerts, they thought maybe it was exciting. But nobody of these people were ever thinking, “Hey man, this is something we should take as an\u003cbr>\nideal, we should take as a way people follow up.” In Germany, actually, Can didn’t become such an image of being heroes.\u003c/p>\n\u003cp>But younger people who attended our concerts, [the] next younger generation, especially in England, they became addicted, actually, to the way of how Can made music. I found out in the last year, especially in Russia for example, [that] Can will be treated with young people sometimes [like] the Rolling Stones. The Russian people see a good way of making progressive music on their own without being forced to copy rock and roll.\u003c/p>\n\u003cp>\u003cstrong>How do you think Can has influenced the music of today?\u003c/strong>\u003c/p>\n\u003cp>Actually, I think they are not such a direct influence on these electronic people as Kraftwerk. In Germany the DJs and the young people, their fathers [were] not Can, it was Kraftwerk. Can actually was a real band, but the new music is not based on the idea of forming a band.\u003c/p>\n\u003cp>But when it comes, let’s say, of making a party or a live evening, making a big performance of nothing, then Can can become very important, because this was how Can was going on stage. Actually with an empty head, nothing pre-performed or nothing pre-whatever. We just went onstage, and who was throwing the first stone, we caught that and threw it back. And that was the beginning of the concert.\u003c/p>\n\u003cp>I think this music Can made had something to do with football or with sports. That means, you can’t really say in the next minute, where is that ball going to. A team which is playing with such a ball knows very well about those strategies. But actually you can’t say, by definition, when is the ball in this or this area. It’s the same with Can music. We know how to build up the whole thing, but the actual sound and the actual development of the thing was not foreseen.\u003c/p>\n\u003cp>\u003cstrong>In the studio too, each Can album was unpredictable.\u003c/strong>\u003c/p>\n\u003cp>It was like that. We knew making records, as other groups are doing, means pre-performing the whole thing, practicing songs and something like that, and then going to the studios and just perform[ing] and produc[ing] it. And after a short time, you are getting out of it again.\u003c/p>\n\u003cp>This was not our intention. We didn’t have anything on our mind. We just played together live in the studio as we would do it on stage, without audience.\u003c/p>\n\u003cp>\u003cstrong>Were there any albums you preferred more than others?\u003c/strong>\u003c/p>\n\u003cp>I regard the very first albums being the most important, as Can was most innocent at that time. If a group is new, young, and starting from the very beginning, actually you can’t do anything wrong. You do something wrong when you try to learn, and when you get older, getting experienced, this is when you can do mistakes and have some errors. It’s quite normal, I think, for every group. That’s the reason I really love \u003cem>Monster Movie\u003c/em>, [1971’s] \u003cem>Tago Mago\u003c/em>. \u003cem>Soundtracks\u003c/em> [from 1970] is a great album. \u003c/p>\n\u003cp>\u003cstrong>When Can hooked up with Virgin Records in the mid-1970s after Damo Suzuki left, was there any sort of pressure to go commercial?\u003c/strong>\u003c/p>\n\u003cp>That was one of the reasons what made problems in the group. In the beginning, we were a real group, an entire group. That means we were recording straightaway on two tracks. Then we became successful, we had a hit in Germany, and we were able to afford a multi-track machine. From this moment on, you can say it was the beginning of the end of Can.\u003c/p>\n\u003cp>In such a group, everybody has to criticize the other one about what he’s doing wrong and so on. But when the multitrack machine came out, it was “I want to hear guitar, or I want to hear the bass, who has made this wrong?” [Musicians were] getting a little bit afraid, and said “Okay, okay, I do my part now and play it as good as I can, and the others shouldn’t be in there,” because it makes him nervous. This was the beginning, where the group suddenly was not such a strong group again. Even if they were more sophisticated about production.\u003c/p>\n\u003cp>I knew where the weak point of Can was. There [was] too much dealing just with themselves, and nothing which came from outside. So I looked out for radio and all these sort of devices, including telephone. That means you suddenly get information from outside, getting off from your routine, and getting fresh again from the very beginning. But in terms of becoming more commercial, maybe, the other members didn’t like this idea very much. That was why I got out and started on my own, towards the end of Can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg\" alt=\"\" width=\"800\" height=\"797\" class=\"aligncenter size-medium wp-image-13807606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1180x1175.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-960x956.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>I wonder if you could compare the band as they were with Malcolm Mooney and as they were with Damo Suzuki.\u003c/strong>\u003c/p>\n\u003cp>With Malcolm Mooney we were very fresh. Malcolm was a great rhythm talent. He was a locomotive. That was the right singer [for] the very beginning. We were creating rhythms, but we were not very stable in doing that. That means someone who was pushing us into the rhythm, and giving us the feel that this is the right thing to do — this was Malcolm Mooney, and he got integrated very much into what all the other musicians did. He was the right singer at the right time.\u003c/p>\n\u003cp>When he left because of psychological reasons, Damo came in. The group was far more experienced by that time. Damo is not such a pusher. He is a different sort of singer, and therefore the group achieved such a stability. Damo fit perfectly into that.\u003c/p>\n\u003cp>The problem was, when Damo disappeared, Can was without a singer. Suddenly we felt a hole in our music. Michael was singing, but he is not…a guitar player actually should not sing, except like Jimi Hendrix or something like that. Actually a guitar player should play guitar. That was our problem. We tried out so many singers at that time, and nobody really fit again into this group. It was somehow Can’s fate, or tragedy, or whatever you can call that, that it happened like it happened.\u003c/p>\n\u003cp>\u003cstrong>It seems you could call Malcolm and Damo joining the group inspired accidents.\u003c/strong>\u003c/p>\n\u003cp>You can say, if you’re a religious person, they were given by god for starting something for mankind.\u003c/p>\n\u003cp>\u003cstrong>Does it come as a surprise to you or other people in Can to learn about the group’s cult following in the US?\u003c/strong>\u003c/p>\n\u003cp>Yes. You see, this following came up by the years. I always thought that if Can makes it, it will make it in America. I thought the way the rhythms were done, the way we played live, it was a hell of rhythmic impact. I thought that would fit far more into America than into Europe.\u003c/p>\n\u003cp>But in England, it was in [the] beginning accepted with greatest enthusiasm. Then the French people reacted on that very, very strong in the beginning of the ‘70s. But from America, we didn’t get really any reaction. We heard that we should come over and play, but somehow all this was so unstable. Nothing was really confirmed in such a way that we could say, “Okay, let’s do it, let’s go over.”\u003c/p>\n\u003cp>\u003cstrong>How have you drawn upon Can’s influence in your solo career?\u003c/strong>\u003c/p>\n\u003cp>When I started my solo career, I only could do that because Can was such a good time for learning everything you need to stand on your own feet. Without Can, that would be completely impossible. I have learned to play all the other instruments. For the first time I could play, you know, whatever. I could go back after more than twenty years to my guitar.\u003c/p>\n\u003cp>Working with other people – with Jah Wobble for example, or with David Sylvian – all this Can experience went into this collaboration with these people. For David Sylvian, it was completely new to have that style of working.\u003c/p>\n\u003cp>This open-minded conception which Can established, I think, is a good way to master the future. I can see that now, working with the young people from the electronic scene. They understand me perfectly. They are able to interact right away. This music now, with all these devices, is perfectly designed for the electronic world, it looks like. This is very living electronic music. Nothing is bad about that.\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>Blending insistent, almost tribal rhythms with keening guitars, keyboards, and electronics, Can were among the top German bands of the 1970s. It was something of a miracle, however, that the musicians came together in the first place to play rock. Their backgrounds were in jazz, classical music, and avant-garde composition. Yet they were determined to somehow become a rock band, dissatisfied with the stifling conventions of the more “serious” music in which they’d been schooled.\u003c/p>\n\u003cp>Improvising much of their material, and dedicated to creating their own style rather than emulating American and British rock trends, Can left much of their very career path to chance. When original singer Malcolm Mooney left after their 1969 debut album \u003cem>Monster Movie\u003c/em> to return to the United States, he was replaced by Damo Suzuki, a Japanese busker whom bassist Holger Czukay spotted in a Munich cafe. Suzuki gave his first concert with Can that night, and over the next few years his stream-of-consciousness vocals almost acted as another instrument in the ensemble. Meaning was conveyed by the nuances of his mumbles and hums as much as the actual English lyrics he sang. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/can.ege_.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Can were at their peak, they were barely known in the United States. Over the last few decades, however, they’ve built a substantial American cult following. Indeed, their minimalist approach, spontaneity, and incorporation of avant-garde concepts and electronics proved influential on underground bands all over the globe. Sadly, several of the core members of Can are no longer with us. The latest to pass was Czukay, who died near Köln on Sept. 5, aged 79, after a lengthy post-Can solo career.\u003c/p>\n\u003cp>Holger spoke to me from San Francisco’s Phoenix hotel on Jan. 18, 1997, for the chapter on Can in my book \u003cem>Unknown Legends of Rock’n’Roll\u003c/em>. The transcript of the interview appears here for the first time. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>When Can began, the band had little experience with rock music. But you became a rock band.\u003c/strong>\u003c/p>\n\u003cp>We were bloody beginners altogether. Maybe except Jaki Liebezeit, the drummer. Jaki was quite experienced. He played one year with Chet Baker in Barcelona, and was a real jazz drummer. But the rest of Can was different. I was just nothing. I just studied with [composer Karlheinz] Stockhausen; I didn’t have any practical experience. I had some sort of weird ideas. [Michael] Karoli, the guitar player, was my pupil, and he started to study law. He had nothing in his hand too.\u003c/p>\n\u003cp>We were all bloody new beginners, and tried somehow to grow out of our soil. Irmin [Schmidt], he had some sort of experience being a conductor. But he was a beginner in playing in such a group. [Even] counting until four, he had really sort of big problems in the very beginning. [As did] every one of us.\u003c/p>\n\u003cp>\u003cstrong>What were Can’s main influences from the world of rock, as opposed to classical and avant-garde?\u003c/strong>\u003c/p>\n\u003cp>The influence, for me, of Beatles and Velvet Underground was most important. The Velvet Underground especially. They had something achieved which others didn’t achieve. Even Jimi Hendrix didn’t achieve [what they did]. One could have the opinion that this group is not able to play really properly right. They didn’t get the right rhythm, they couldn’t make a real tight rhythm. But the music was incredibly convincing.\u003c/p>\n\u003cp>This feeling made us encouraged to go on with rock music in general, instead of making avant-garde academic music. We liked to do something without notation. We didn’t want to read music off papers. We really tried to make instant compositions from the very beginning. This Can tradition actually [was] achieved very much when we played live.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-13807605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Can.tago_.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>What do you see as Can’s influence on German and European progressive music?\u003c/strong>\u003c/p>\n\u003cp>People of our generation, I think they were not influenced at all. When they attended Can concerts, they thought maybe it was exciting. But nobody of these people were ever thinking, “Hey man, this is something we should take as an\u003cbr>\nideal, we should take as a way people follow up.” In Germany, actually, Can didn’t become such an image of being heroes.\u003c/p>\n\u003cp>But younger people who attended our concerts, [the] next younger generation, especially in England, they became addicted, actually, to the way of how Can made music. I found out in the last year, especially in Russia for example, [that] Can will be treated with young people sometimes [like] the Rolling Stones. The Russian people see a good way of making progressive music on their own without being forced to copy rock and roll.\u003c/p>\n\u003cp>\u003cstrong>How do you think Can has influenced the music of today?\u003c/strong>\u003c/p>\n\u003cp>Actually, I think they are not such a direct influence on these electronic people as Kraftwerk. In Germany the DJs and the young people, their fathers [were] not Can, it was Kraftwerk. Can actually was a real band, but the new music is not based on the idea of forming a band.\u003c/p>\n\u003cp>But when it comes, let’s say, of making a party or a live evening, making a big performance of nothing, then Can can become very important, because this was how Can was going on stage. Actually with an empty head, nothing pre-performed or nothing pre-whatever. We just went onstage, and who was throwing the first stone, we caught that and threw it back. And that was the beginning of the concert.\u003c/p>\n\u003cp>I think this music Can made had something to do with football or with sports. That means, you can’t really say in the next minute, where is that ball going to. A team which is playing with such a ball knows very well about those strategies. But actually you can’t say, by definition, when is the ball in this or this area. It’s the same with Can music. We know how to build up the whole thing, but the actual sound and the actual development of the thing was not foreseen.\u003c/p>\n\u003cp>\u003cstrong>In the studio too, each Can album was unpredictable.\u003c/strong>\u003c/p>\n\u003cp>It was like that. We knew making records, as other groups are doing, means pre-performing the whole thing, practicing songs and something like that, and then going to the studios and just perform[ing] and produc[ing] it. And after a short time, you are getting out of it again.\u003c/p>\n\u003cp>This was not our intention. We didn’t have anything on our mind. We just played together live in the studio as we would do it on stage, without audience.\u003c/p>\n\u003cp>\u003cstrong>Were there any albums you preferred more than others?\u003c/strong>\u003c/p>\n\u003cp>I regard the very first albums being the most important, as Can was most innocent at that time. If a group is new, young, and starting from the very beginning, actually you can’t do anything wrong. You do something wrong when you try to learn, and when you get older, getting experienced, this is when you can do mistakes and have some errors. It’s quite normal, I think, for every group. That’s the reason I really love \u003cem>Monster Movie\u003c/em>, [1971’s] \u003cem>Tago Mago\u003c/em>. \u003cem>Soundtracks\u003c/em> [from 1970] is a great album. \u003c/p>\n\u003cp>\u003cstrong>When Can hooked up with Virgin Records in the mid-1970s after Damo Suzuki left, was there any sort of pressure to go commercial?\u003c/strong>\u003c/p>\n\u003cp>That was one of the reasons what made problems in the group. In the beginning, we were a real group, an entire group. That means we were recording straightaway on two tracks. Then we became successful, we had a hit in Germany, and we were able to afford a multi-track machine. From this moment on, you can say it was the beginning of the end of Can.\u003c/p>\n\u003cp>In such a group, everybody has to criticize the other one about what he’s doing wrong and so on. But when the multitrack machine came out, it was “I want to hear guitar, or I want to hear the bass, who has made this wrong?” [Musicians were] getting a little bit afraid, and said “Okay, okay, I do my part now and play it as good as I can, and the others shouldn’t be in there,” because it makes him nervous. This was the beginning, where the group suddenly was not such a strong group again. Even if they were more sophisticated about production.\u003c/p>\n\u003cp>I knew where the weak point of Can was. There [was] too much dealing just with themselves, and nothing which came from outside. So I looked out for radio and all these sort of devices, including telephone. That means you suddenly get information from outside, getting off from your routine, and getting fresh again from the very beginning. But in terms of becoming more commercial, maybe, the other members didn’t like this idea very much. That was why I got out and started on my own, towards the end of Can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg\" alt=\"\" width=\"800\" height=\"797\" class=\"aligncenter size-medium wp-image-13807606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-800x797.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-768x765.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1020x1016.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-1180x1175.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-960x956.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Canmonstermovie.jpg 1419w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>I wonder if you could compare the band as they were with Malcolm Mooney and as they were with Damo Suzuki.\u003c/strong>\u003c/p>\n\u003cp>With Malcolm Mooney we were very fresh. Malcolm was a great rhythm talent. He was a locomotive. That was the right singer [for] the very beginning. We were creating rhythms, but we were not very stable in doing that. That means someone who was pushing us into the rhythm, and giving us the feel that this is the right thing to do — this was Malcolm Mooney, and he got integrated very much into what all the other musicians did. He was the right singer at the right time.\u003c/p>\n\u003cp>When he left because of psychological reasons, Damo came in. The group was far more experienced by that time. Damo is not such a pusher. He is a different sort of singer, and therefore the group achieved such a stability. Damo fit perfectly into that.\u003c/p>\n\u003cp>The problem was, when Damo disappeared, Can was without a singer. Suddenly we felt a hole in our music. Michael was singing, but he is not…a guitar player actually should not sing, except like Jimi Hendrix or something like that. Actually a guitar player should play guitar. That was our problem. We tried out so many singers at that time, and nobody really fit again into this group. It was somehow Can’s fate, or tragedy, or whatever you can call that, that it happened like it happened.\u003c/p>\n\u003cp>\u003cstrong>It seems you could call Malcolm and Damo joining the group inspired accidents.\u003c/strong>\u003c/p>\n\u003cp>You can say, if you’re a religious person, they were given by god for starting something for mankind.\u003c/p>\n\u003cp>\u003cstrong>Does it come as a surprise to you or other people in Can to learn about the group’s cult following in the US?\u003c/strong>\u003c/p>\n\u003cp>Yes. You see, this following came up by the years. I always thought that if Can makes it, it will make it in America. I thought the way the rhythms were done, the way we played live, it was a hell of rhythmic impact. I thought that would fit far more into America than into Europe.\u003c/p>\n\u003cp>But in England, it was in [the] beginning accepted with greatest enthusiasm. Then the French people reacted on that very, very strong in the beginning of the ‘70s. But from America, we didn’t get really any reaction. We heard that we should come over and play, but somehow all this was so unstable. Nothing was really confirmed in such a way that we could say, “Okay, let’s do it, let’s go over.”\u003c/p>\n\u003cp>\u003cstrong>How have you drawn upon Can’s influence in your solo career?\u003c/strong>\u003c/p>\n\u003cp>When I started my solo career, I only could do that because Can was such a good time for learning everything you need to stand on your own feet. Without Can, that would be completely impossible. I have learned to play all the other instruments. For the first time I could play, you know, whatever. I could go back after more than twenty years to my guitar.\u003c/p>\n\u003cp>Working with other people – with Jah Wobble for example, or with David Sylvian – all this Can experience went into this collaboration with these people. For David Sylvian, it was completely new to have that style of working.\u003c/p>\n\u003cp>This open-minded conception which Can established, I think, is a good way to master the future. I can see that now, working with the young people from the electronic scene. They understand me perfectly. They are able to interact right away. This music now, with all these devices, is perfectly designed for the electronic world, it looks like. This is very living electronic music. Nothing is bad about that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Roscoe Mitchell's 'Conversations for Orchestra' Gets Its Bay Area Debut",
"headTitle": "Roscoe Mitchell’s ‘Conversations for Orchestra’ Gets Its Bay Area Debut | KQED",
"content": "\u003cp>In June, it was discovered that \u003ca href=\"https://inside.mills.edu/academics/faculty/mus/index_grad.php\" target=\"_blank\" rel=\"noopener\">Mills College\u003c/a> intended to lay off at least 30 employees, including \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\" target=\"_blank\" rel=\"noopener\">Roscoe Mitchell\u003c/a>, a renowned saxophonist and composer the \u003cem>\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em> once described as “one of the most important musicians in jazz.” The news of Mitchell losing his job outraged the international music community, a petition against his dismissal circulated online, and Mills College ultimately decided to keep the esteemed professor on staff. \u003c/p>\n\u003cp>“I’m truly inspired by your impassioned, coordinated efforts to loudly proclaim your respect for the work being done by myself and my colleagues at Mills,” wrote Mitchell in a \u003ca href=\"https://docs.google.com/document/d/1pJ7OBA8e-P42QX5-RUTvTotWGru3E0H8Hpq0ic8wOUA/edit\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to his supporters. “My hope is that your actions will pave a way for us all to move forward with increasing focus, during this ever-crucial period for music, art, and other creative endeavors.”\u003c/p>\n\u003cp>https://youtu.be/BOqjPBlfKvw\u003c/p>\n\u003cp>Now that Mitchell’s teaching position is secure, the composer is preparing for the Bay Area debut of his new work, \u003cem>Conversations for Orchestra\u003c/em>, at the de Young Museum on Friday, Sept. 8, at 7pm. For the free performance — set to take place in front of \u003cem>Number 197\u003c/em>, a site-specific installation by Leonardo Drew — Mitchell has assembled a 34-piece chamber orchestra comprised of Mills faculty and former students. The piece draws from Mitchell’s improvisations from his albums, \u003cem>Conversations\u003c/em> and \u003cem>Conversations II\u003c/em>. For \u003cem>Conversations for Orchestra\u003c/em>, he enlisted two former students, Christopher Luna-Mega and Daniel Steffey, to transcribe his atonal, whirlwind saxophone playing for a full-on orchestral performance. \u003c/p>\n\u003cp>“I was excited about this invitation because it provided me an opportunity to define more clearly my work on the relationships that exist between composition and improvisation,” wrote Mitchell in an email to KQED in June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The performance is free of charge and open to the public.\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=\"alignnone size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about “Roscoe Mitchell x Number 197,” visit the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/calendar/roscoe-mitchell-x-number-197\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June, it was discovered that \u003ca href=\"https://inside.mills.edu/academics/faculty/mus/index_grad.php\" target=\"_blank\" rel=\"noopener\">Mills College\u003c/a> intended to lay off at least 30 employees, including \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\" target=\"_blank\" rel=\"noopener\">Roscoe Mitchell\u003c/a>, a renowned saxophonist and composer the \u003cem>\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em> once described as “one of the most important musicians in jazz.” The news of Mitchell losing his job outraged the international music community, a petition against his dismissal circulated online, and Mills College ultimately decided to keep the esteemed professor on staff. \u003c/p>\n\u003cp>“I’m truly inspired by your impassioned, coordinated efforts to loudly proclaim your respect for the work being done by myself and my colleagues at Mills,” wrote Mitchell in a \u003ca href=\"https://docs.google.com/document/d/1pJ7OBA8e-P42QX5-RUTvTotWGru3E0H8Hpq0ic8wOUA/edit\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to his supporters. “My hope is that your actions will pave a way for us all to move forward with increasing focus, during this ever-crucial period for music, art, and other creative endeavors.”\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/BOqjPBlfKvw'\n title='//www.youtube.com/embed/BOqjPBlfKvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now that Mitchell’s teaching position is secure, the composer is preparing for the Bay Area debut of his new work, \u003cem>Conversations for Orchestra\u003c/em>, at the de Young Museum on Friday, Sept. 8, at 7pm. For the free performance — set to take place in front of \u003cem>Number 197\u003c/em>, a site-specific installation by Leonardo Drew — Mitchell has assembled a 34-piece chamber orchestra comprised of Mills faculty and former students. The piece draws from Mitchell’s improvisations from his albums, \u003cem>Conversations\u003c/em> and \u003cem>Conversations II\u003c/em>. For \u003cem>Conversations for Orchestra\u003c/em>, he enlisted two former students, Christopher Luna-Mega and Daniel Steffey, to transcribe his atonal, whirlwind saxophone playing for a full-on orchestral performance. \u003c/p>\n\u003cp>“I was excited about this invitation because it provided me an opportunity to define more clearly my work on the relationships that exist between composition and improvisation,” wrote Mitchell in an email to KQED in June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The performance is free of charge and open to the public.\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=\"alignnone size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about “Roscoe Mitchell x Number 197,” visit the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/calendar/roscoe-mitchell-x-number-197\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2017: Music Highlights and Photo Gallery",
"headTitle": "Hiero Day 2017: Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" 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/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" 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_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" 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/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" 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/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HieroImperium/status/904924158269652992\u003c/p>\n\u003ch2>Hieroglyphics\u003c/h2>\n\u003cp>Press about Hiero Day rarely goes into detail about Hieroglyphics, because they’re the headliners every year — but the legendary Oakland crew’s set was a reminder of why they’re the best at what they do. It’s pretty remarkable that the nine-person collective continues to collaborate after a decade-plus of working together, and their camaraderie was palpable on stage. The bandmates hyped each other during each other’s verses and all seven MCs got their due in the festival’s short closing time slot. Hiero classics like “You Never Knew” and Souls of Mischief’s “’93 Til Infinity” transported the audience to Hieroglyphics’ ’90s heyday and served a reminder of the fact that the crew helped pioneer the freewheeling, individualistic Bay Area hip-hop culture celebrated onstage throughout Hiero Day. Opio, one of the Souls of Mischief MCs, closed the show by inviting the audience to hold up peace signs in defiance of the recent white nationalist rallies in the Bay Area, calling for the community to stand together in a gesture of unity as the sun went down.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"large\" ids=\"13807493,13807489,13807492,13807488,13807490,13807487,13807491,13807486,13807485,13807410,13807484,13807409,13807408,13807403,13807407,13807404,13807405,13807406,13807402,13807401,13807400,13807399,13807398,13807397,13807396,13807395\" orderby=\"rand\"]\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" 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/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" 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_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" 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/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" 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/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch2>Hieroglyphics\u003c/h2>\n\u003cp>Press about Hiero Day rarely goes into detail about Hieroglyphics, because they’re the headliners every year — but the legendary Oakland crew’s set was a reminder of why they’re the best at what they do. It’s pretty remarkable that the nine-person collective continues to collaborate after a decade-plus of working together, and their camaraderie was palpable on stage. The bandmates hyped each other during each other’s verses and all seven MCs got their due in the festival’s short closing time slot. Hiero classics like “You Never Knew” and Souls of Mischief’s “’93 Til Infinity” transported the audience to Hieroglyphics’ ’90s heyday and served a reminder of the fact that the crew helped pioneer the freewheeling, individualistic Bay Area hip-hop culture celebrated onstage throughout Hiero Day. Opio, one of the Souls of Mischief MCs, closed the show by inviting the audience to hold up peace signs in defiance of the recent white nationalist rallies in the Bay Area, calling for the community to stand together in a gesture of unity as the sun went down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Taylor Swift's 'Look What You Made Me Do' Breaks Records, Stops 'Despacito' Short",
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"content": "\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3tmd-ClpJxA\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=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3tmd-ClpJxA'\n title='//www.youtube.com/embed/3tmd-ClpJxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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