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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\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/ea3Bofkmwlc'\n title='//www.youtube.com/embed/ea3Bofkmwlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Houston's Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future",
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"content": "\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "thao-nguyen-tells-her-own-story-in-intimate-doc-nobody-dies",
"title": "Thao Nguyen Tells Her Own Story in Intimate Doc ‘Nobody Dies’",
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"headTitle": "Thao Nguyen Tells Her Own Story in Intimate Doc ‘Nobody Dies’ | KQED",
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"content": "\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In the heart-rending documentary, Nguyen unravels her complex family dynamic through a Vietnam homecoming.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2017: Six Rising Artists Not to Miss this Year",
"headTitle": "Hiero Day 2017: Six Rising Artists Not to Miss this Year | KQED",
"content": "\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \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\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \u003c/p>\n\u003cp>https://youtu.be/8dOySPXcC1M\u003c/p>\n\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \u003c/p>\n\u003cp>https://youtu.be/fiW9qdxlZg0\u003c/p>\n\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323113399″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \u003c/p>\n\u003cp>https://youtu.be/jI56LrPKMqo\u003c/p>\n\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\n\u003cp>https://youtu.be/QQzRU8IC0mg\u003c/p>\n\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\u003c/p>\n\u003cp>https://youtu.be/vV71CEm-svU\u003c/p>\n\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \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\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \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/8dOySPXcC1M'\n title='//www.youtube.com/embed/8dOySPXcC1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \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/fiW9qdxlZg0'\n title='//www.youtube.com/embed/fiW9qdxlZg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/323113399″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/323113399″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp> \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \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/jI56LrPKMqo'\n title='//www.youtube.com/embed/jI56LrPKMqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QQzRU8IC0mg'\n title='//www.youtube.com/embed/QQzRU8IC0mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\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/vV71CEm-svU'\n title='//www.youtube.com/embed/vV71CEm-svU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The legacy of jazz pioneer Thelonious Monk may have been tarnished by one brewery’s gratuitous use of his face on its merchandise, his estate claims in a lawsuit filed on Wednesday.\u003c/p>\n\u003cp>The Monk estate, which is managed by the legendary pianist’s son T.S. Monk, is suing North Coast Brewing in San Francisco federal court for trademark infringement and a series of other violations. \u003ca href=\"http://www.sfgate.com/beer/article/Thelonious-Monk-estate-sues-North-Coast-Brewing-12162234.php\">According to a report by SFGate\u003c/a>, they are seeking over $75,000 in damages.\u003c/p>\n\u003cp>In the suit, the Monk estate alleges that it granted the Fort Bragg-based brewery verbal permission to use his visage for its Brother Thelonious beer. \u003ca href=\"http://www.northcoastbrewing.com/beers/year-round-beers/brother-thelonious-belgian-style-abbey-ale/\">The popular beer, \u003c/a>which was introduced in 2005, is a Belgian-style ale that puns Monk’s name by dressing him in monk’s garb for the beer’s packaging.\u003c/p>\n\u003cfigure id=\"attachment_13807276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg\" alt=\"Thelonious Monk performs in an undated and unlocated picture\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk performs in an undated and unlocated picture. \u003ccite>(Photo: AFP/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was one caveat to this deal: For using Monk’s likeness, North Coast would donate a portion of its profits from Brother Thelonious beer sales to the \u003ca href=\"http://monkinstitute.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Thelonious Monk Institute of Jazz \u003c/a>— a non-profit that promotes jazz education and performance.\u003c/p>\n\u003cp>The Monk estate rescinded the agreement in January 2016, when it was discovered that the brewery had used the musician’s likeness on an assortment of merchandise, including T-shirts, iron-on patches and soap bars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit states that the brewery has failed to compensate the estate for its use of Monk’s image. It is unclear if North Coast is donating proceeds from its jazzed-up “beer gear” to the Monk Institute.\u003c/p>\n\u003cp>North Coast also sponsors jazz festivals throughout Northern California, where they sell Brother Thelonious and other brews. The company brands itself as the “Official Brewery Partner” of the Monterey Jazz Festival. (Fittingly, Thelonious Monk performed at the Festival four times between 1963 and 1972.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of press time, North Coast Brewing is still selling Brother Thelonious merchandise on its website.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The legacy of jazz pioneer Thelonious Monk may have been tarnished by one brewery’s gratuitous use of his face on its merchandise, his estate claims in a lawsuit filed on Wednesday.\u003c/p>\n\u003cp>The Monk estate, which is managed by the legendary pianist’s son T.S. Monk, is suing North Coast Brewing in San Francisco federal court for trademark infringement and a series of other violations. \u003ca href=\"http://www.sfgate.com/beer/article/Thelonious-Monk-estate-sues-North-Coast-Brewing-12162234.php\">According to a report by SFGate\u003c/a>, they are seeking over $75,000 in damages.\u003c/p>\n\u003cp>In the suit, the Monk estate alleges that it granted the Fort Bragg-based brewery verbal permission to use his visage for its Brother Thelonious beer. \u003ca href=\"http://www.northcoastbrewing.com/beers/year-round-beers/brother-thelonious-belgian-style-abbey-ale/\">The popular beer, \u003c/a>which was introduced in 2005, is a Belgian-style ale that puns Monk’s name by dressing him in monk’s garb for the beer’s packaging.\u003c/p>\n\u003cfigure id=\"attachment_13807276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg\" alt=\"Thelonious Monk performs in an undated and unlocated picture\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk performs in an undated and unlocated picture. \u003ccite>(Photo: AFP/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was one caveat to this deal: For using Monk’s likeness, North Coast would donate a portion of its profits from Brother Thelonious beer sales to the \u003ca href=\"http://monkinstitute.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Thelonious Monk Institute of Jazz \u003c/a>— a non-profit that promotes jazz education and performance.\u003c/p>\n\u003cp>The Monk estate rescinded the agreement in January 2016, when it was discovered that the brewery had used the musician’s likeness on an assortment of merchandise, including T-shirts, iron-on patches and soap bars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Roman Zepeda remembers a time when strangers scoffed at the fact that he was from East San Jose.\u003c/p>\n\u003cp>“Growing up there, it was looked down upon to be from the Eastside,” he says. “It was like, ‘Oh, that’s the ghetto.’ It’s always had this negative view.”\u003c/p>\n\u003cp>But over the past decade, the DJ and producer better known as \u003ca href=\"https://soundcloud.com/turbosonidero\" target=\"_blank\" rel=\"noopener\">Turbo Sonidero\u003c/a> has made a name for himself curating events that celebrate his neighborhood and its Chicano culture. His biggest party yet, the second annual \u003ca href=\"https://www.eventbrite.com/e/2nd-annual-sonido-clash-music-fest-tickets-35953829873\" target=\"_blank\" rel=\"noopener\">Sonido Clash Music Fest\u003c/a> — coming up at San Jose’s Mexican Heritage Plaza on Sept. 3 — features the sort of buzzed-about indie and alternative Latino artists that can put a neighborhood on the map.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/327035465″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>As we meet over coffee in Oakland, Zepeda laments that when people talk about Bay Area music, they rarely mention his hometown. Through touring the United States and Mexico, Zepeda has become East San Jose’s self-appointed ambassador. (During our interview, he prepares to hit the string of record stores in Oakland’s Temescal neighborhood to pass out flyers for the festival.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m excited to see people come through from all walks of life, from all over the Bay,” he says.\u003c/p>\n\u003cp>Zepeda curated the festival with his collective, \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a group of mostly Mexican-American musicians, promoters, and artists who, since 2009, have thrown concerts and parties spotlighting Latino artists who don’t make traditional music or cater to mainstream sensibilities. Last year’s festival, originally called “Music and Mezcal,” featured Grammy-nominated rap duo \u003ca href=\"https://soundcloud.com/losrakas\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, who hail from Oakland by way of Panama.\u003c/p>\n\u003cp>That inaugural festival planted a flag for Zepeda’s vision: Groups of twenty-somethings soaked up the sun — and mezcal cocktails — on the palm tree-lined lawn in front of the outdoor stage. Kids played in the grass. Older couples showed off their footwork to live cumbia on the indoor dance floor. The music, attendees, and goods by local vendors exuded Mexican and Latin American pride. \u003c/p>\n\u003cp>https://youtu.be/qVvabsXFT7w\u003c/p>\n\u003cp>This year’s festival features nearly a dozen bands and DJs including San Diego “cholo goth” duo \u003ca href=\"http://www.chologoth.com/\" target=\"_blank\" rel=\"noopener\">Prayers\u003c/a>; electro-cumbia band \u003ca href=\"https://soundcloud.com/afrodita-oficial\" target=\"_blank\" rel=\"noopener\">Afrodita\u003c/a> from Mexico City; \u003ca href=\"http://heladonegro.com/\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a>, a soulful, Ecuadorian-American crooner based in Brooklyn; and \u003ca href=\"https://soundcloud.com/chicosonido\" target=\"_blank\" rel=\"noopener\">Chico Sonido\u003c/a>, an underground reggaeton producer from Monterrey, Mexico. \u003c/p>\n\u003cp>“We’re bringing artists who are pushing the boundaries of Latino alternative, or just Latino music in general,” Zepeda explains. \u003c/p>\n\u003cp>https://youtu.be/p0x3aKmEu7M\u003c/p>\n\u003cp>Sonido Clash’s 2016 event drew over 500 attendees, but San Jose’s alternative Latino music scene wasn’t always this popular. Zepeda, who produces surreal, distorted cumbia spiked with rap samples, recalls struggling to find venues for Sonido Clash parties eight years ago. “It was just Top 40, [clubs] were trying to cater to techies. And then we were seeing cool stuff going on in San Francisco and Oakland,” he says. “How come we can’t have it here?”\u003c/p>\n\u003cp>Once the Fairmont Hotel in Downtown San Jose gave Sonido Clash a monthly party in 2010, Zepeda and his collective began to develop an enthusiastic following in and outside their hometown. These days, Zepeda is a frequent guest performer at the popular Oakland party \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/middle-east-meets-west-oakland-at-party-on-the-rise-club-chai/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, a hotbed of electronic artists of diverse immigrant backgrounds. For his own events, he books artists from across the United States, Mexico, and Latin America who often bring Sonido Clash to their cities in return.\u003c/p>\n\u003cp>“We definitely have created a scene in San Jose that wasn’t there,” Zepeda says. “All these other parties have sprung up from Sonido Clash, and it’s dope. We’ve opened those doors because 10 years ago it would have been impossible to do.”\u003c/p>\n\u003cp>https://youtu.be/rAG8v5AzVr8\u003c/p>\n\u003cp>In addition to the music at Sonido Clash, there will also be a car show, live painting, local vendors, and a poetry stage headlined by \u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener\">Yosimar Reyes\u003c/a>, an East San Jose-raised author and activist who has collaborated with guitar legend Carlos Santana. Zepeda says that he wants the festival to showcase the diverse network of Latino artists he’s developed through Sonido Clash over the past decade. \u003c/p>\n\u003cp>“We created kind of like a family. Everything’s organic, everything’s — we’re just trying to create a community. You know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roman Zepeda remembers a time when strangers scoffed at the fact that he was from East San Jose.\u003c/p>\n\u003cp>“Growing up there, it was looked down upon to be from the Eastside,” he says. “It was like, ‘Oh, that’s the ghetto.’ It’s always had this negative view.”\u003c/p>\n\u003cp>But over the past decade, the DJ and producer better known as \u003ca href=\"https://soundcloud.com/turbosonidero\" target=\"_blank\" rel=\"noopener\">Turbo Sonidero\u003c/a> has made a name for himself curating events that celebrate his neighborhood and its Chicano culture. His biggest party yet, the second annual \u003ca href=\"https://www.eventbrite.com/e/2nd-annual-sonido-clash-music-fest-tickets-35953829873\" target=\"_blank\" rel=\"noopener\">Sonido Clash Music Fest\u003c/a> — coming up at San Jose’s Mexican Heritage Plaza on Sept. 3 — features the sort of buzzed-about indie and alternative Latino artists that can put a neighborhood on the map.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/327035465″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/327035465″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As we meet over coffee in Oakland, Zepeda laments that when people talk about Bay Area music, they rarely mention his hometown. Through touring the United States and Mexico, Zepeda has become East San Jose’s self-appointed ambassador. (During our interview, he prepares to hit the string of record stores in Oakland’s Temescal neighborhood to pass out flyers for the festival.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m excited to see people come through from all walks of life, from all over the Bay,” he says.\u003c/p>\n\u003cp>Zepeda curated the festival with his collective, \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener\">Sonido Clash\u003c/a>, a group of mostly Mexican-American musicians, promoters, and artists who, since 2009, have thrown concerts and parties spotlighting Latino artists who don’t make traditional music or cater to mainstream sensibilities. Last year’s festival, originally called “Music and Mezcal,” featured Grammy-nominated rap duo \u003ca href=\"https://soundcloud.com/losrakas\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, who hail from Oakland by way of Panama.\u003c/p>\n\u003cp>That inaugural festival planted a flag for Zepeda’s vision: Groups of twenty-somethings soaked up the sun — and mezcal cocktails — on the palm tree-lined lawn in front of the outdoor stage. Kids played in the grass. Older couples showed off their footwork to live cumbia on the indoor dance floor. The music, attendees, and goods by local vendors exuded Mexican and Latin American pride. \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/qVvabsXFT7w'\n title='//www.youtube.com/embed/qVvabsXFT7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This year’s festival features nearly a dozen bands and DJs including San Diego “cholo goth” duo \u003ca href=\"http://www.chologoth.com/\" target=\"_blank\" rel=\"noopener\">Prayers\u003c/a>; electro-cumbia band \u003ca href=\"https://soundcloud.com/afrodita-oficial\" target=\"_blank\" rel=\"noopener\">Afrodita\u003c/a> from Mexico City; \u003ca href=\"http://heladonegro.com/\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a>, a soulful, Ecuadorian-American crooner based in Brooklyn; and \u003ca href=\"https://soundcloud.com/chicosonido\" target=\"_blank\" rel=\"noopener\">Chico Sonido\u003c/a>, an underground reggaeton producer from Monterrey, Mexico. \u003c/p>\n\u003cp>“We’re bringing artists who are pushing the boundaries of Latino alternative, or just Latino music in general,” Zepeda explains. \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/p0x3aKmEu7M'\n title='//www.youtube.com/embed/p0x3aKmEu7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sonido Clash’s 2016 event drew over 500 attendees, but San Jose’s alternative Latino music scene wasn’t always this popular. Zepeda, who produces surreal, distorted cumbia spiked with rap samples, recalls struggling to find venues for Sonido Clash parties eight years ago. “It was just Top 40, [clubs] were trying to cater to techies. And then we were seeing cool stuff going on in San Francisco and Oakland,” he says. “How come we can’t have it here?”\u003c/p>\n\u003cp>Once the Fairmont Hotel in Downtown San Jose gave Sonido Clash a monthly party in 2010, Zepeda and his collective began to develop an enthusiastic following in and outside their hometown. These days, Zepeda is a frequent guest performer at the popular Oakland party \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/middle-east-meets-west-oakland-at-party-on-the-rise-club-chai/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, a hotbed of electronic artists of diverse immigrant backgrounds. For his own events, he books artists from across the United States, Mexico, and Latin America who often bring Sonido Clash to their cities in return.\u003c/p>\n\u003cp>“We definitely have created a scene in San Jose that wasn’t there,” Zepeda says. “All these other parties have sprung up from Sonido Clash, and it’s dope. We’ve opened those doors because 10 years ago it would have been impossible to do.”\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/rAG8v5AzVr8'\n title='//www.youtube.com/embed/rAG8v5AzVr8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In addition to the music at Sonido Clash, there will also be a car show, live painting, local vendors, and a poetry stage headlined by \u003ca href=\"http://yosimarreyes.com/\" target=\"_blank\" rel=\"noopener\">Yosimar Reyes\u003c/a>, an East San Jose-raised author and activist who has collaborated with guitar legend Carlos Santana. Zepeda says that he wants the festival to showcase the diverse network of Latino artists he’s developed through Sonido Clash over the past decade. \u003c/p>\n\u003cp>“We created kind of like a family. Everything’s organic, everything’s — we’re just trying to create a community. You know?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\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>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\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>Solange Knowles was once best known as Beyoncé’s sister, but her album \u003cem>A Seat at the Table \u003c/em>last year made a number of \u003ca href=\"http://www.npr.org/sections/allsongs/2016/12/08/504578775/stephen-thompsons-top-10-albums-of-2016\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 lists\u003c/a>, and remains a diehard in-house favorite here at KQED Arts. She brings her low-key soul singing to the Greek Theatre in Berkeley this fall, and you may have to scramble for tickets — at press time, it’s just sold out. Show is on Oct. 20; \u003ca href=\"http://thegreekberkeley.com/events/solange/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"https://www.thisiswilsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tamsin Wilson\u003c/a> makes songs that string out fascinating ideas and images over cool bass lines with a few guitar chords and electronics. (Ignore the conspicuous vowel change from her family name to the band name: Wilsen). The music is very personal, and lovely, and we wanted to feature one small show on our fall preview that’s cheap ($12 at the door), under the radar, and worthy. It’s good she’s playing the intimate \u003cspan style=\"font-weight: 400\">Cafe Du Nord on Sept. 14; \u003ca href=\"https://www.ticketfly.com/purchase/event/1518447\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A Gold Rush History on the Opera Stage",
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"content": "\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, 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"excerpt": "John Adams and Peter Sellars' 'Girls of the Golden West' may be the classical event of the year for the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This may be the classical event of the year for the Bay Area: the world premiere of a new opera about the California gold rush. \u003ci>Girls of the Golden West\u003c/i> is by \u003cspan style=\"font-weight: 400\">Berkeley composer \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams \u003c/a>and librettist Peter Sellars — it’s their fourth historical opera, the most recent being \u003ca href=\"https://www.earbox.com/doctor-atomic/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Doctor Atomic\u003c/em>\u003c/a>, which also premiered in San Francisco. As Adams told me, it’s set in a mining camp, a real place called Rich Bar, and the town of Downieville, with a focus on the voices we rarely hear from gold rush days: the wife of a doctor in a mining camp (\u003ca href=\"http://historymatters.gmu.edu/d/6516/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame Shirley\u003c/a>), a Hispanic dance hall owner, a Chinese prostitute, a free black wagon driver. The opera features scandal magnet Lola Montez doing her famous spider dance to Adams music. Montez, toured California gold country and settled for a time in Nevada City, \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13807066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"A model for ‘Girls of the Golden West’ by David Gropman\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera.jpg 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model for ‘Girls of the Golden West’ by David Gropman \u003ccite>(Photo:Scott Wall/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sellars has plucked the libretto, as he often does, from historical documents, this time from letters and personal accounts from the period. \u003c/span>“What people are actually singing are the words of the people who sang them,” Adams told me by phone. “And there’s a wonderful sense of humanity, the ability to laugh at oneself. And what comes through is something incredibly genuine.” The opera is close to Adams heart in more ways than one — he’s had a cabin for years near Downieville in the Sierra foothills. The premiere runs Nov. 21–Dec. 10 at the War Memorial Opera House; \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13807066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg\" alt=\"\" width=\"800\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Set-model-by-David-Gropman_3_photo_Scott-Wall_San-Francisco-Opera-160x124.jpg 160w, 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"content": "\u003cp>\u003ca href=\"http://www.npr.org/2000/10/23/148148986/a-love-supreme\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Love Supreme\u003c/em>\u003c/a> is John Coltrane’s most famous album, a deep inquiry into sound and his relationship to God. Now, \u003ca href=\"http://ravicoltrane.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane\u003c/a>, John’s son, has gathered an all-star quintet to recreate the piece, originally released in early 1965. As this week’s Do List co-host Gabe Meline notes, Ravi’s not the only son helping re-create the classic album: there’s also Matthew Garrison, son of bassist Jimmy Garrison, from Coltrane’s classic quartet. The week also features Jack DeJohnette, Nicholas Payton, and a night dedicated to Coltrane’s spiritual son, Pharaoh Sanders, whose playing is a pure vibration of love and unity. Series runs Sept. 20-24; \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/coltrane-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NEUD2CkKn8o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rrovR1hn838\u003c/p>\n\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YG9uSWdEmNM\u003c/p>\n\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>[contextly_sidebar id=\"duq25hc30AgO3uuNTsHLJVHphXjARe3P\"]\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/rrovR1hn838'\n title='//www.youtube.com/embed/rrovR1hn838'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\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/YG9uSWdEmNM'\n title='//www.youtube.com/embed/YG9uSWdEmNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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