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"content": "\u003cp>When stuffy classical music doesn't work for you, make your own instrument. Artist Paul Dresher did exactly that.\u003c/p>\n\u003cp>Dresher is a composer and musician who has been inventing his own musical instruments since high school. His love of all things musical is loud and clear at his latest exhibit at the Napa Valley Museum, called \"\u003ca href=\"http://napavalleymuseum.org/exhibition/sound-maze-by-paul-dresher/\">Sound Maze\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_11612441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11612441 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and musician Paul Dresher plays \"A-Frame\", a 17-foot pendulum with instruments attached. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Sound Maze\" doesn't look or sound like anything you're used to seeing at a museum. In the center of the exhibit, a massive 17-foot metal pendulum swings, hitting vintage school bells on one side and snare drums on the other. Nearby, a metal hula hoop spins and clatters to the floor. In the back of the room, a silver pipe organ, its pipes tied together with string, blares.\u003c/p>\n\u003cp>Everything in the Sound Maze is meant to be pressed, spun, strummed, knocked and played by everybody, no matter their musical talent, said Dresher.\u003c/p>\n\u003cp>\"When you put some energy into them, the instruments play themselves,\" he said. \"That's part of the idea of this installation. You don’t have to a skilled musician or practice for years to get interesting sonic results.\"\u003c/p>\n\u003cfigure id=\"attachment_11612469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gutierrez plays the Sound Maze's pipe organ. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's 7-year-old Lily Gutierrez's first time at \"Sound Maze\" -- and her first time at any museum, ever -- and she's ready for her turn at the \"Big Wheel.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \"Big Wheel\" is a 4-foot-tall wooden wheel filled with golf balls, pingpong balls and wooden balls. When you spin it, the balls bounce around noisily until they get spit out a hole in the back, where they roll down a xylophone that chimes delightfully.\u003c/p>\n\u003cp>She pushes the wheel with both hands and squeals with delight as the balls go flying.\u003c/p>\n\u003cp>\"Oh look it! It's cool, they fall down! They're really jumping!\" she said.\u003c/p>\n\u003cp>After her turn at the \"Big Wheel,\" she moves on to a row of skinny steel rods swaying back and forth with wood blocks on the end. This instrument is called \"Field of Flowers.\" It does look like flowers, too, but out of a \u003ca href=\"https://www.pinterest.com/pin/452119250066052299/\">Dr. Seuss Book\u003c/a> rather than a garden.\u003c/p>\n\u003cfigure id=\"attachment_11612457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg\" alt=\"\" width=\"800\" height=\"553\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1020x705.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1180x815.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-960x663.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-375x259.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-520x359.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611.jpg 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily plays \"Field of Flowers\", a row of wooden blocks atop steel rods. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lily pulls the wooden blocks back and lets them go, listening as they knock together in a rhythmic wave.\u003c/p>\n\u003cp>\"Whoa ... cool...,\" she said.\u003c/p>\n\u003cp>The sound of wooden blocks mixes with the sound of the nearly dozen other instruments being played by people at the exhibit, and the sound swells to a loud din.\u003c/p>\n\u003cp>Dresher uses the word \"cacophony\" to describe all the noise. To him it sounds like kids and adults finding their inner musician. And that, he said, is music to his ears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see \"Sound Maze\" for yourself at the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Napa Valley Museum\u003c/a> through Sunday, August 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When stuffy classical music doesn't work for you, make your own instrument. Artist Paul Dresher did exactly that.\u003c/p>\n\u003cp>Dresher is a composer and musician who has been inventing his own musical instruments since high school. His love of all things musical is loud and clear at his latest exhibit at the Napa Valley Museum, called \"\u003ca href=\"http://napavalleymuseum.org/exhibition/sound-maze-by-paul-dresher/\">Sound Maze\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_11612441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11612441 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and musician Paul Dresher plays \"A-Frame\", a 17-foot pendulum with instruments attached. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Sound Maze\" doesn't look or sound like anything you're used to seeing at a museum. In the center of the exhibit, a massive 17-foot metal pendulum swings, hitting vintage school bells on one side and snare drums on the other. Nearby, a metal hula hoop spins and clatters to the floor. In the back of the room, a silver pipe organ, its pipes tied together with string, blares.\u003c/p>\n\u003cp>Everything in the Sound Maze is meant to be pressed, spun, strummed, knocked and played by everybody, no matter their musical talent, said Dresher.\u003c/p>\n\u003cp>\"When you put some energy into them, the instruments play themselves,\" he said. \"That's part of the idea of this installation. You don’t have to a skilled musician or practice for years to get interesting sonic results.\"\u003c/p>\n\u003cfigure id=\"attachment_11612469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gutierrez plays the Sound Maze's pipe organ. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's 7-year-old Lily Gutierrez's first time at \"Sound Maze\" -- and her first time at any museum, ever -- and she's ready for her turn at the \"Big Wheel.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \"Big Wheel\" is a 4-foot-tall wooden wheel filled with golf balls, pingpong balls and wooden balls. When you spin it, the balls bounce around noisily until they get spit out a hole in the back, where they roll down a xylophone that chimes delightfully.\u003c/p>\n\u003cp>She pushes the wheel with both hands and squeals with delight as the balls go flying.\u003c/p>\n\u003cp>\"Oh look it! It's cool, they fall down! They're really jumping!\" she said.\u003c/p>\n\u003cp>After her turn at the \"Big Wheel,\" she moves on to a row of skinny steel rods swaying back and forth with wood blocks on the end. This instrument is called \"Field of Flowers.\" It does look like flowers, too, but out of a \u003ca href=\"https://www.pinterest.com/pin/452119250066052299/\">Dr. Seuss Book\u003c/a> rather than a garden.\u003c/p>\n\u003cfigure id=\"attachment_11612457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg\" alt=\"\" width=\"800\" height=\"553\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1020x705.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1180x815.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-960x663.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-375x259.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-520x359.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611.jpg 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily plays \"Field of Flowers\", a row of wooden blocks atop steel rods. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lily pulls the wooden blocks back and lets them go, listening as they knock together in a rhythmic wave.\u003c/p>\n\u003cp>\"Whoa ... cool...,\" she said.\u003c/p>\n\u003cp>The sound of wooden blocks mixes with the sound of the nearly dozen other instruments being played by people at the exhibit, and the sound swells to a loud din.\u003c/p>\n\u003cp>Dresher uses the word \"cacophony\" to describe all the noise. To him it sounds like kids and adults finding their inner musician. And that, he said, is music to his ears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see \"Sound Maze\" for yourself at the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Napa Valley Museum\u003c/a> through Sunday, August 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Preparation for Monday’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/541132645/heres-what-you-need-to-know-about-the-total-solar-eclipse\" target=\"_blank\" rel=\"noopener\">solar eclipse\u003c/a> has focused on \u003ca href=\"https://eclipse2017.nasa.gov/safety\" target=\"_blank\" rel=\"noopener\">safe viewing\u003c/a> techniques: Don’t forget to don those special “eclipse glasses.” But you also may want to insert earbuds, because the ever-intrepid \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> will be making music with the sun in real time as the eclipse unfolds. You can stream it live on this page on Monday, Aug. 21, beginning at 12:15 p.m. EDT.\u003c/p>\n\u003cp>Wayne Grim, a composer based at the \u003ca href=\"https://www.exploratorium.edu/eclipse\" target=\"_blank\" rel=\"noopener\">Exploratorium\u003c/a>, San Francisco’s science museum, has devised a way to turn what is essentially a silent viewing event into a musical one as well. He calls it the “sonification” of the eclipse.\u003c/p>\n\u003cp>At the sun’s core, subatomic particles smash into each other. Grim plans to soak up the resulting nuclear fusion and turn it into notes. Photons from the fusion, captured by telescopes in Casper, Wyo., are converted to pixels. Those are sent back into space and relayed via satellite to the Exploratorium, where Kronos is on stage. Grim’s special software recasts each pixel’s digital fingerprint into unique tones. Kronos will perform with the sounds of the sun, adapting as the eclipse comes and goes.\u003c/p>\n\u003cp>Grim has pre-baked part of the music, organizing samples from the quartet into a colorful score with 23 cells that looks more like a collage than your standard staff notation. There aren’t any specific instructions; it’s a kind of road map to follow as the eclipse proceeds.\u003c/p>\n\u003cp>This is Grim’s initial collaboration with Kronos, but it isn’t his first time with “sonification.” He created musical evocations of the 2012 transit of Venus and last year’s total solar eclipse in Micronesia. \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=The+Sun%2C+The+Moon+And+A+String+Quartet%3A+Kronos+Plays+Live+To+The+Solar+Eclipse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Preparation for Monday’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/541132645/heres-what-you-need-to-know-about-the-total-solar-eclipse\" target=\"_blank\" rel=\"noopener\">solar eclipse\u003c/a> has focused on \u003ca href=\"https://eclipse2017.nasa.gov/safety\" target=\"_blank\" rel=\"noopener\">safe viewing\u003c/a> techniques: Don’t forget to don those special “eclipse glasses.” But you also may want to insert earbuds, because the ever-intrepid \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> will be making music with the sun in real time as the eclipse unfolds. You can stream it live on this page on Monday, Aug. 21, beginning at 12:15 p.m. EDT.\u003c/p>\n\u003cp>Wayne Grim, a composer based at the \u003ca href=\"https://www.exploratorium.edu/eclipse\" target=\"_blank\" rel=\"noopener\">Exploratorium\u003c/a>, San Francisco’s science museum, has devised a way to turn what is essentially a silent viewing event into a musical one as well. He calls it the “sonification” of the eclipse.\u003c/p>\n\u003cp>At the sun’s core, subatomic particles smash into each other. Grim plans to soak up the resulting nuclear fusion and turn it into notes. Photons from the fusion, captured by telescopes in Casper, Wyo., are converted to pixels. Those are sent back into space and relayed via satellite to the Exploratorium, where Kronos is on stage. Grim’s special software recasts each pixel’s digital fingerprint into unique tones. Kronos will perform with the sounds of the sun, adapting as the eclipse comes and goes.\u003c/p>\n\u003cp>Grim has pre-baked part of the music, organizing samples from the quartet into a colorful score with 23 cells that looks more like a collage than your standard staff notation. There aren’t any specific instructions; it’s a kind of road map to follow as the eclipse proceeds.\u003c/p>\n\u003cp>This is Grim’s initial collaboration with Kronos, but it isn’t his first time with “sonification.” He created musical evocations of the 2012 transit of Venus and last year’s total solar eclipse in Micronesia. \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=The+Sun%2C+The+Moon+And+A+String+Quartet%3A+Kronos+Plays+Live+To+The+Solar+Eclipse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Inmates at the state prison in Lancaster got an unusual perk this spring: a private meeting with Gov. Jerry Brown’s top aide and a Grammy-award winning rapper.\u003c/p>\n\u003cp>It was one stop in a larger effort that has recently brought Common -- a musician who blends hip-hop with an activist message -- close to key California decision-makers. \u003c/p>\n\u003cp>After an artistic career that propelled him from the south side of Chicago to poetry nights in the Obama White House, the 45-year-old rapper is now working to influence state policy. A resident of Los Angeles, Common is trying to change the criminal justice system in California.\u003c/p>\n\u003cp>In addition to the meeting with Brown \u003ca href=\"https://twitter.com/NancyEMcFadden/status/853332511136464896\">aide Nancy McFadden\u003c/a> at the Southern California prison in March, Common \u003ca href=\"https://twitter.com/LorenaSGonzalez/status/866166798621605888\">met with Democratic lawmakers\u003c/a> at the Capitol in May to talk about bills that would change California’s \u003ca href=\"https://calmatters.org/articles/fix-unfair-bail-system-will-california-copy-kentucky/\">bail system\u003c/a> and juvenile justice procedures. He’ll be back in Sacramento on Monday, when legislators return from summer recess, holding a \u003ca href=\"https://www.eventbrite.com/e/imagine-justice-concert-tickets-36230203514\">free concert\u003c/a> outside the Capitol and lobbying politicians inside.\u003c/p>\n\u003cp>“I have a lot of respect for him because he goes a level deeper than some might think,” said McFadden, who described their meeting in the prison as a round-table with well-behaved inmates serving life sentences for serious violent crimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He really is trying to understand the issue. He was just such a good listener, listening to people's stories and then understanding and connecting dots. I was just really impressed with him.”\u003c/p>\n\u003cfigure id=\"attachment_11612707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg\" alt=\"Common meets with inmates at a California prison.\" width=\"800\" height=\"464\" class=\"size-medium wp-image-11612707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1020x592.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1180x685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-960x557.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-240x139.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-375x218.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-520x302.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Common meets with inmates at a California prison. \u003ccite>(Sade C. Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Common’s music has long carried political messages, his spokesman Michael Latt said policy advocacy is new. Common’s visits to state prisons this year -- where he performed for inmates and held conversations to learn more about their experiences -- are one piece of his effort to try to curb cycles of violence and incarceration, especially in the black community.\u003c/p>\n\u003cp>The advocacy grew out of Common’s work on the soundtrack to the 2014 film “Selma,” which tells the story of civil rights icon Martin Luther King Jr. and the march he led to secure African-Americans the right to vote.\u003c/p>\n\u003cp>“It really pushed me to a new level in wanting to do more,” Common said last year in a televised \u003ca href=\"http://www.cc.com/video-clips/kz9yjm/the-daily-show-with-trevor-noah-exclusive---common-extended-interview\">interview\u003c/a> with Trevor Noah of Comedy Central’s The Daily Show, in which he described King as one of his heroes.\u003c/p>\n\u003cp>“I want to do that work.”\u003c/p>\n\u003cp>Common has long been known for songs that largely eschew the violence and misogyny of gangster rap in favor of messages with positive social messages. But his lyrics have not been controversy-free: Two years ago, a New Jersey college \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/04/01/common-gets-disinvited-from-new-jersey-universitys-commencement/?utm_term=.645862ede81e\">rescinded an invitation\u003c/a> for Common to speak at graduation after the state troopers’ association complained about an early song in which he praised a member of the revolutionary Black Panthers group who was convicted of killing a New Jersey state trooper. In 2011, President Barack Obama faced criticism for the same reason when he invited Common to perform at the White House.\u003c/p>\n\u003cp>In Sacramento, Common will be lobbying for two juvenile justice bills. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB394\">Senate Bill 394\u003c/a> would give juvenile offenders a shot at parole after 25 years in prison, even if they were sentenced to life without the possibility of parole. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB395\">Senate Bill 395\u003c/a> would require that juveniles consult with an attorney before waiving their Miranda rights and answering questions from authorities.\u003c/p>\n\u003cp>Assemblyman Jim Cooper, who spent 30 years in law enforcement before politics, said he’s not convinced the bill makes sense. Investigators want to interview suspects as soon as possible, he said, while the details of a crime are still fresh.\u003c/p>\n\u003cp>“To actually have an attorney there takes time,” said Cooper, a Democrat from Elk Grove.\u003c/p>\n\u003cp>He emphasized that he doesn’t yet have a formal position on the bill, and said he’s planning to meet with Common next week to hear him out.\u003c/p>\n\u003cp>https://twitter.com/LorenaSGonzalez/status/866166798621605888\u003c/p>\n\u003cp>Common joins a long list of celebrities that pop into the Capitol to pose for photos and try to sway decisions. Earlier this year, actress \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article126540799.html\">Lena Dunham advocated\u003c/a> for Planned Parenthood and reality TV star Dog the Bounty Hunter \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article145294029.html\">testified against\u003c/a> a bill to change the bail system. In 2013, Jennifer Garner and Halle Berry \u003ca href=\"http://articles.latimes.com/2013/aug/14/local/la-me-ln-halle-berry-jennifer-garner-paparazzi-bill-20130814\">lobbied for a bill\u003c/a> intended to protect children from paparazzi.\u003c/p>\n\u003cp>“Obviously he’s not the first celebrity that’s been to Sacramento lobbying on an issue,” said Assemblywoman Lorena Gonzalez Fletcher, who was among the group of progressive Democrats who met with Common in May. “They can play an important role highlighting an issue.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://calmatters.org\">\u003cem>CALmatters.org\u003c/em>\u003c/a>\u003cem> is a nonprofit, nonpartisan media venture explaining California policies and politics.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inmates at the state prison in Lancaster got an unusual perk this spring: a private meeting with Gov. Jerry Brown’s top aide and a Grammy-award winning rapper.\u003c/p>\n\u003cp>It was one stop in a larger effort that has recently brought Common -- a musician who blends hip-hop with an activist message -- close to key California decision-makers. \u003c/p>\n\u003cp>After an artistic career that propelled him from the south side of Chicago to poetry nights in the Obama White House, the 45-year-old rapper is now working to influence state policy. A resident of Los Angeles, Common is trying to change the criminal justice system in California.\u003c/p>\n\u003cp>In addition to the meeting with Brown \u003ca href=\"https://twitter.com/NancyEMcFadden/status/853332511136464896\">aide Nancy McFadden\u003c/a> at the Southern California prison in March, Common \u003ca href=\"https://twitter.com/LorenaSGonzalez/status/866166798621605888\">met with Democratic lawmakers\u003c/a> at the Capitol in May to talk about bills that would change California’s \u003ca href=\"https://calmatters.org/articles/fix-unfair-bail-system-will-california-copy-kentucky/\">bail system\u003c/a> and juvenile justice procedures. He’ll be back in Sacramento on Monday, when legislators return from summer recess, holding a \u003ca href=\"https://www.eventbrite.com/e/imagine-justice-concert-tickets-36230203514\">free concert\u003c/a> outside the Capitol and lobbying politicians inside.\u003c/p>\n\u003cp>“I have a lot of respect for him because he goes a level deeper than some might think,” said McFadden, who described their meeting in the prison as a round-table with well-behaved inmates serving life sentences for serious violent crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He really is trying to understand the issue. He was just such a good listener, listening to people's stories and then understanding and connecting dots. I was just really impressed with him.”\u003c/p>\n\u003cfigure id=\"attachment_11612707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg\" alt=\"Common meets with inmates at a California prison.\" width=\"800\" height=\"464\" class=\"size-medium wp-image-11612707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1020x592.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1180x685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-960x557.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-240x139.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-375x218.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-520x302.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Common meets with inmates at a California prison. \u003ccite>(Sade C. Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Common’s music has long carried political messages, his spokesman Michael Latt said policy advocacy is new. Common’s visits to state prisons this year -- where he performed for inmates and held conversations to learn more about their experiences -- are one piece of his effort to try to curb cycles of violence and incarceration, especially in the black community.\u003c/p>\n\u003cp>The advocacy grew out of Common’s work on the soundtrack to the 2014 film “Selma,” which tells the story of civil rights icon Martin Luther King Jr. and the march he led to secure African-Americans the right to vote.\u003c/p>\n\u003cp>“It really pushed me to a new level in wanting to do more,” Common said last year in a televised \u003ca href=\"http://www.cc.com/video-clips/kz9yjm/the-daily-show-with-trevor-noah-exclusive---common-extended-interview\">interview\u003c/a> with Trevor Noah of Comedy Central’s The Daily Show, in which he described King as one of his heroes.\u003c/p>\n\u003cp>“I want to do that work.”\u003c/p>\n\u003cp>Common has long been known for songs that largely eschew the violence and misogyny of gangster rap in favor of messages with positive social messages. But his lyrics have not been controversy-free: Two years ago, a New Jersey college \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/04/01/common-gets-disinvited-from-new-jersey-universitys-commencement/?utm_term=.645862ede81e\">rescinded an invitation\u003c/a> for Common to speak at graduation after the state troopers’ association complained about an early song in which he praised a member of the revolutionary Black Panthers group who was convicted of killing a New Jersey state trooper. In 2011, President Barack Obama faced criticism for the same reason when he invited Common to perform at the White House.\u003c/p>\n\u003cp>In Sacramento, Common will be lobbying for two juvenile justice bills. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB394\">Senate Bill 394\u003c/a> would give juvenile offenders a shot at parole after 25 years in prison, even if they were sentenced to life without the possibility of parole. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB395\">Senate Bill 395\u003c/a> would require that juveniles consult with an attorney before waiving their Miranda rights and answering questions from authorities.\u003c/p>\n\u003cp>Assemblyman Jim Cooper, who spent 30 years in law enforcement before politics, said he’s not convinced the bill makes sense. Investigators want to interview suspects as soon as possible, he said, while the details of a crime are still fresh.\u003c/p>\n\u003cp>“To actually have an attorney there takes time,” said Cooper, a Democrat from Elk Grove.\u003c/p>\n\u003cp>He emphasized that he doesn’t yet have a formal position on the bill, and said he’s planning to meet with Common next week to hear him out.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Common joins a long list of celebrities that pop into the Capitol to pose for photos and try to sway decisions. Earlier this year, actress \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article126540799.html\">Lena Dunham advocated\u003c/a> for Planned Parenthood and reality TV star Dog the Bounty Hunter \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article145294029.html\">testified against\u003c/a> a bill to change the bail system. In 2013, Jennifer Garner and Halle Berry \u003ca href=\"http://articles.latimes.com/2013/aug/14/local/la-me-ln-halle-berry-jennifer-garner-paparazzi-bill-20130814\">lobbied for a bill\u003c/a> intended to protect children from paparazzi.\u003c/p>\n\u003cp>“Obviously he’s not the first celebrity that’s been to Sacramento lobbying on an issue,” said Assemblywoman Lorena Gonzalez Fletcher, who was among the group of progressive Democrats who met with Common in May. “They can play an important role highlighting an issue.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://calmatters.org\">\u003cem>CALmatters.org\u003c/em>\u003c/a>\u003cem> is a nonprofit, nonpartisan media venture explaining California policies and politics.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Journey were inducted into the \u003ca href=\"https://www.youtube.com/watch?v=2XyCKJ-Z9dA\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall Of Fame\u003c/a> six months ago — but ever since, instead of riding high, the band has been plagued with drama. \u003c/p>\n\u003cp>Last week, headlines nationwide declared internal strife amongst the kings of ’80s radio due to the presidency of Donald Trump. Guitarist and founding member Neal Schon posted angrily on social media about three of his bandmates visiting the Trump White House on July 31 without him — a visit, he says, the band previously agreed not to do. \u003c/p>\n\u003cp>“Everybody’s entitled to like and believe what they want but when we’ve had this discussion many many times it was always a no,” Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/893300303260471296\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>. “Least a heads up since it is a band and one that I started. I think Managment (sic) could let me know.”\u003c/p>\n\u003cp>To hear publications like \u003ca href=\"http://www.spin.com/2017/08/journey-donald-trump-tension/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a> and Variety tell it, the band were steps away from breaking up and going their \u003ca href=\"https://www.youtube.com/watch?v=LatorN4P9aA\" target=\"_blank\" rel=\"noopener\">separate ways\u003c/a> — a believable notion, as the band had gone though a previous public row two months prior, with Schon claiming that keyboardist Jonathan Cain, the band’s walking ballad factory and a practicing Christian, wanted Journey to play gospel music.\u003c/p>\n\u003cp>But for music journalist Joel Selvin, who covered the band for years in the pages of the \u003cem>San Francisco Chronicle\u003c/em>, the members of Journey fighting with each other is nothing new. When the band was at the top of its game in the early ’80s, frontman Steve Perry exerted control over the group, leading to frequent battling. As detailed in the band’s episode of VH1’s \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=kJivmiZIY6o\" target=\"_blank\" rel=\"noopener\">Behind The Music\u003c/a>,\u003c/i> Perry was the first to eschew the band’s team dynamics, and Selvin says the band never recovered. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They don’t like each other and they’re tied together financially. They don’t even like the band anymore,” Selvin says.\u003c/p>\n\u003cfigure id=\"attachment_13805713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg\" alt=\"(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey performs at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey perform at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selvin should know. One of his oldest friends is former Journey manager Walter “Herbie” Herbert, the band’s \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Walsh_(American_football_coach)\" target=\"_blank\" rel=\"noopener\">Bill Walsh\u003c/a>, who guided them from playing jazzy prog-rock for a dedicated following to mainstream radio dominance. Before the band fired Herbert in 1993, he’d helped turn Journey into the \u003ca href=\"http://www.rollingstone.com/music/features/journey-the-platinum-game-plan-19800612\" target=\"_blank\" rel=\"noopener\">hit factory everyone knows\u003c/a> — pushing the band to focus on songwriting, finding Steve Perry, and setting up the business side so that their fortunes were equal to their fame. When the band was inducted into the Rock and Roll Hall Of Fame back in April, each member thanked Herbert for his work.\u003c/p>\n\u003cp>Now Herbert says he’s been watching the drama from afar, and is disappointed in the band’s quarreling. \u003c/p>\n\u003cp>“It’s a tragedy,” Herbert says. “It’s all rooted in financial issues, and it’s too bad because it could be the undoing of what is a great business.”\u003c/p>\n\u003cp>Herbert says the band’s problems stem from one source — Neal Schon. Herbert discovered Schon when he was 15 years old and, after bringing him into the Santana band, he helped the now-guitar hero found Journey in 1973. Herbert has stayed in touch with Schon since parting ways with the band; Schon even sent Herbert YouTube videos of singer Arnel Pineda before the Filipino phenom was brought in as vocalist in 2007. But now Herbert says Schon has taken over the “Steve Perry role” in the band, referencing the former lead singer’s divisive tenure. \u003c/p>\n\u003cfigure id=\"attachment_13805738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg\" alt=\"Herbie Herbert during Journey's induction into the Rock and Roll Hall of Fame\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF.jpg 1369w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Herbert during Journey’s induction into the Rock and Roll Hall of Fame. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For years and years and years, I treated him like a son. Towards the end there, I would introduce him as, ‘This is Neal Schon, my son. He just didn’t turn out that well.’ It would always be good for a laugh,” Herbert says. “You know the old saying: half in jest and half serious. But then it was getting more and more serious.” \u003c/p>\n\u003cp>Journey has yet to reply to requests for comment. But looking at Schon’s social media posts, it appears that much of the fighting centers around Cain’s recent embrace of \u003ca href=\"http://1059thebrew.iheart.com/content/2017-06-05-journeys-neal-schon-and-jonathan-cain-are-apparently-at-odds-over-politics-religion-band-direction/\" target=\"_blank\" rel=\"noopener\">evangelical Christianity\u003c/a> and his new wife Paula White, the televangelist who also \u003ca href=\"https://www.nytimes.com/2017/01/19/us/trumps-pastor-paula-white.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">serves as Trump’s spiritual adviser\u003c/a>. Schon has posted videos and other statements \u003ca href=\"https://twitter.com/NealSchonMusic/status/892981470796685312\" target=\"_blank\" rel=\"noopener\">critical of White\u003c/a>, and has repeatedly stated that the band he founded “\u003ca href=\"http://ultimateclassicrock.com/neal-schon-journey-feud/\" target=\"_blank\" rel=\"noopener\">doesn’t need to be tagged with any one religion or politics\u003c/a>.” \u003c/p>\n\u003cp>But Herbert says he’s welcomed Cain’s newfound evangelicalism with \u003ca href=\"https://www.youtube.com/watch?v=2lLmYLw0WRI\" target=\"_blank\" rel=\"noopener\">open arms\u003c/a>. Herbert had issues with Cain from the moment he \u003ca href=\"https://www.facebook.com/schonmusic/photos/p.1507783739282096/1507783739282096/\" target=\"_blank\" rel=\"noopener\">brought him into the group,\u003c/a> and yet the “borderline atheist” says finding God has made the keyboardist “a better Jon Cain.”\u003c/p>\n\u003cp>“I’d love to be able to say the same for Neal and what he’s doing with his life,” Herbert says.\u003c/p>\n\u003caside class=\"aligncenter\">\nhttps://youtu.be/MSi1yV0laeA?t=28s\n\u003cp>\u003ci>Video showing Journey’s Jonathan Cain telling Paula White’s congregation that married couples should watch porn together.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>Along with bitter tweets about his feud with Cain, Schon has discussed going off to do other projects, such as \u003ca href=\"https://twitter.com/NealSchonMusic/status/891215357041664000\" target=\"_blank\" rel=\"noopener\">a blues project\u003c/a> with former Bad English singer John Waite. But if he breaks up Journey, Schon would lose his biggest moneymaking venture, which Herbert insists would be “stupid on steroids” considering Schon’s many financial obligations.\u003c/p>\n\u003cp>Currently married to his fifth wife Michaele Schon (formerly Salahi), Schon has paid millions in alimony for previous marriages. To at least one ex-wife, Amber Fazon, he confirmed \u003ca href=\"http://www.startribune.com/journey-guitarist-sues-ex-mother-in-law-former-waseca-mayor-for-libel/198996051/\" target=\"_blank\" rel=\"noopener\">payments totaling $1.3 million\u003c/a> by 2013. Furthermore, according to Herbert, Schon’s divorce settlement with his first wife dictates that she receive half of his royalties from Journey’s best-selling greatest hits album. After getting together with Salahi in 2011, Schon settled a lawsuit by \u003ca href=\"http://www.mercurynews.com/2012/10/03/journeys-neal-schon-settles-lawsuit-filed-by-playmate-ex-flame/\" target=\"_blank\" rel=\"noopener\">paying an undisclosed sum\u003c/a> to his then-girlfriend, former Playmate Ava Fabian.\u003c/p>\n\u003cp>Selvin says he spoke with one of Schon’s accountants at a party a few years back, and was told that for every hour the guitarist works, 50 minutes of that work goes to paying his alimony. With stories like that going around, stunts like Schon’s decision to turn his 2013 wedding at the Palace of Fine Arts into \u003ca href=\"http://www.sfgate.com/news/article/S-F-to-pay-back-Journey-guitarist-Neal-Schon-for-6624791.php\" target=\"_blank\" rel=\"noopener\">a pay-per-view event \u003c/a>start making sense. (A portion of the pay-per-view profits went to typhoon relief in the Philippines.)\u003c/p>\n\u003cp>“I’ve managed a dozen bands very successfully and one of the most common problems is a failure to understand commitment,” Herbert says. “That is a tough thing to manage, because they’re basically shitting the bed and wanting somebody to clean up the mess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LatorN4P9aA\u003c/p>\n\u003cp>Days after the articles about Journey’s impending breakup ran, Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/894009672360837120\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that he wasn’t mad anymore, and that he was merely concerned about “the band’s legacy.” But for Herbert, the public fighting is just as damaging — and if Schon really cares about the band, he says, he’ll stop quarreling with his bandmates. \u003c/p>\n\u003cp>“This is the mothership,” Herbert says. “Quit fucking around.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>CORRECTION:\u003c/b> In the original version of this story, Michaele Schon’s name was styled incorrectly. It is Michaele Schon, not Michaele Salahi-Schon. We apologize for the error.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journey were inducted into the \u003ca href=\"https://www.youtube.com/watch?v=2XyCKJ-Z9dA\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall Of Fame\u003c/a> six months ago — but ever since, instead of riding high, the band has been plagued with drama. \u003c/p>\n\u003cp>Last week, headlines nationwide declared internal strife amongst the kings of ’80s radio due to the presidency of Donald Trump. Guitarist and founding member Neal Schon posted angrily on social media about three of his bandmates visiting the Trump White House on July 31 without him — a visit, he says, the band previously agreed not to do. \u003c/p>\n\u003cp>“Everybody’s entitled to like and believe what they want but when we’ve had this discussion many many times it was always a no,” Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/893300303260471296\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>. “Least a heads up since it is a band and one that I started. I think Managment (sic) could let me know.”\u003c/p>\n\u003cp>To hear publications like \u003ca href=\"http://www.spin.com/2017/08/journey-donald-trump-tension/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a> and Variety tell it, the band were steps away from breaking up and going their \u003ca href=\"https://www.youtube.com/watch?v=LatorN4P9aA\" target=\"_blank\" rel=\"noopener\">separate ways\u003c/a> — a believable notion, as the band had gone though a previous public row two months prior, with Schon claiming that keyboardist Jonathan Cain, the band’s walking ballad factory and a practicing Christian, wanted Journey to play gospel music.\u003c/p>\n\u003cp>But for music journalist Joel Selvin, who covered the band for years in the pages of the \u003cem>San Francisco Chronicle\u003c/em>, the members of Journey fighting with each other is nothing new. When the band was at the top of its game in the early ’80s, frontman Steve Perry exerted control over the group, leading to frequent battling. As detailed in the band’s episode of VH1’s \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=kJivmiZIY6o\" target=\"_blank\" rel=\"noopener\">Behind The Music\u003c/a>,\u003c/i> Perry was the first to eschew the band’s team dynamics, and Selvin says the band never recovered. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They don’t like each other and they’re tied together financially. They don’t even like the band anymore,” Selvin says.\u003c/p>\n\u003cfigure id=\"attachment_13805713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg\" alt=\"(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey performs at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey perform at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selvin should know. One of his oldest friends is former Journey manager Walter “Herbie” Herbert, the band’s \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Walsh_(American_football_coach)\" target=\"_blank\" rel=\"noopener\">Bill Walsh\u003c/a>, who guided them from playing jazzy prog-rock for a dedicated following to mainstream radio dominance. Before the band fired Herbert in 1993, he’d helped turn Journey into the \u003ca href=\"http://www.rollingstone.com/music/features/journey-the-platinum-game-plan-19800612\" target=\"_blank\" rel=\"noopener\">hit factory everyone knows\u003c/a> — pushing the band to focus on songwriting, finding Steve Perry, and setting up the business side so that their fortunes were equal to their fame. When the band was inducted into the Rock and Roll Hall Of Fame back in April, each member thanked Herbert for his work.\u003c/p>\n\u003cp>Now Herbert says he’s been watching the drama from afar, and is disappointed in the band’s quarreling. \u003c/p>\n\u003cp>“It’s a tragedy,” Herbert says. “It’s all rooted in financial issues, and it’s too bad because it could be the undoing of what is a great business.”\u003c/p>\n\u003cp>Herbert says the band’s problems stem from one source — Neal Schon. Herbert discovered Schon when he was 15 years old and, after bringing him into the Santana band, he helped the now-guitar hero found Journey in 1973. Herbert has stayed in touch with Schon since parting ways with the band; Schon even sent Herbert YouTube videos of singer Arnel Pineda before the Filipino phenom was brought in as vocalist in 2007. But now Herbert says Schon has taken over the “Steve Perry role” in the band, referencing the former lead singer’s divisive tenure. \u003c/p>\n\u003cfigure id=\"attachment_13805738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg\" alt=\"Herbie Herbert during Journey's induction into the Rock and Roll Hall of Fame\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF.jpg 1369w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Herbert during Journey’s induction into the Rock and Roll Hall of Fame. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For years and years and years, I treated him like a son. Towards the end there, I would introduce him as, ‘This is Neal Schon, my son. He just didn’t turn out that well.’ It would always be good for a laugh,” Herbert says. “You know the old saying: half in jest and half serious. But then it was getting more and more serious.” \u003c/p>\n\u003cp>Journey has yet to reply to requests for comment. But looking at Schon’s social media posts, it appears that much of the fighting centers around Cain’s recent embrace of \u003ca href=\"http://1059thebrew.iheart.com/content/2017-06-05-journeys-neal-schon-and-jonathan-cain-are-apparently-at-odds-over-politics-religion-band-direction/\" target=\"_blank\" rel=\"noopener\">evangelical Christianity\u003c/a> and his new wife Paula White, the televangelist who also \u003ca href=\"https://www.nytimes.com/2017/01/19/us/trumps-pastor-paula-white.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">serves as Trump’s spiritual adviser\u003c/a>. Schon has posted videos and other statements \u003ca href=\"https://twitter.com/NealSchonMusic/status/892981470796685312\" target=\"_blank\" rel=\"noopener\">critical of White\u003c/a>, and has repeatedly stated that the band he founded “\u003ca href=\"http://ultimateclassicrock.com/neal-schon-journey-feud/\" target=\"_blank\" rel=\"noopener\">doesn’t need to be tagged with any one religion or politics\u003c/a>.” \u003c/p>\n\u003cp>But Herbert says he’s welcomed Cain’s newfound evangelicalism with \u003ca href=\"https://www.youtube.com/watch?v=2lLmYLw0WRI\" target=\"_blank\" rel=\"noopener\">open arms\u003c/a>. Herbert had issues with Cain from the moment he \u003ca href=\"https://www.facebook.com/schonmusic/photos/p.1507783739282096/1507783739282096/\" target=\"_blank\" rel=\"noopener\">brought him into the group,\u003c/a> and yet the “borderline atheist” says finding God has made the keyboardist “a better Jon Cain.”\u003c/p>\n\u003cp>“I’d love to be able to say the same for Neal and what he’s doing with his life,” Herbert says.\u003c/p>\n\u003caside class=\"aligncenter\">\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/MSi1yV0laeA'\n title='//www.youtube.com/embed/MSi1yV0laeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Video showing Journey’s Jonathan Cain telling Paula White’s congregation that married couples should watch porn together.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>Along with bitter tweets about his feud with Cain, Schon has discussed going off to do other projects, such as \u003ca href=\"https://twitter.com/NealSchonMusic/status/891215357041664000\" target=\"_blank\" rel=\"noopener\">a blues project\u003c/a> with former Bad English singer John Waite. But if he breaks up Journey, Schon would lose his biggest moneymaking venture, which Herbert insists would be “stupid on steroids” considering Schon’s many financial obligations.\u003c/p>\n\u003cp>Currently married to his fifth wife Michaele Schon (formerly Salahi), Schon has paid millions in alimony for previous marriages. To at least one ex-wife, Amber Fazon, he confirmed \u003ca href=\"http://www.startribune.com/journey-guitarist-sues-ex-mother-in-law-former-waseca-mayor-for-libel/198996051/\" target=\"_blank\" rel=\"noopener\">payments totaling $1.3 million\u003c/a> by 2013. Furthermore, according to Herbert, Schon’s divorce settlement with his first wife dictates that she receive half of his royalties from Journey’s best-selling greatest hits album. After getting together with Salahi in 2011, Schon settled a lawsuit by \u003ca href=\"http://www.mercurynews.com/2012/10/03/journeys-neal-schon-settles-lawsuit-filed-by-playmate-ex-flame/\" target=\"_blank\" rel=\"noopener\">paying an undisclosed sum\u003c/a> to his then-girlfriend, former Playmate Ava Fabian.\u003c/p>\n\u003cp>Selvin says he spoke with one of Schon’s accountants at a party a few years back, and was told that for every hour the guitarist works, 50 minutes of that work goes to paying his alimony. With stories like that going around, stunts like Schon’s decision to turn his 2013 wedding at the Palace of Fine Arts into \u003ca href=\"http://www.sfgate.com/news/article/S-F-to-pay-back-Journey-guitarist-Neal-Schon-for-6624791.php\" target=\"_blank\" rel=\"noopener\">a pay-per-view event \u003c/a>start making sense. (A portion of the pay-per-view profits went to typhoon relief in the Philippines.)\u003c/p>\n\u003cp>“I’ve managed a dozen bands very successfully and one of the most common problems is a failure to understand commitment,” Herbert says. “That is a tough thing to manage, because they’re basically shitting the bed and wanting somebody to clean up the mess.”\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/LatorN4P9aA'\n title='//www.youtube.com/embed/LatorN4P9aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Days after the articles about Journey’s impending breakup ran, Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/894009672360837120\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that he wasn’t mad anymore, and that he was merely concerned about “the band’s legacy.” But for Herbert, the public fighting is just as damaging — and if Schon really cares about the band, he says, he’ll stop quarreling with his bandmates. \u003c/p>\n\u003cp>“This is the mothership,” Herbert says. “Quit fucking around.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>CORRECTION:\u003c/b> In the original version of this story, Michaele Schon’s name was styled incorrectly. It is Michaele Schon, not Michaele Salahi-Schon. We apologize for the error.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s Art and Soul Festival is the best street festival I know, embracing visitors with the small town warmth of a country fair and a sense of the town’s great spirit. It’s a nice reminder of why we love this sometimes troubled city. Expect lots of food trucks and booths, and the chance not only to look at art, but to make it yourself. There’s some great music as well, including Oakland R&B singer Goapele, Panamanian hip-hop duo Los Rakas, and the John Brothers Piano Company. And it’s cheap — 12 bucks for adults, just seven for seniors, and free for kids under 12. Art and Soul in Oakland runs Saturday and Sunday, Aug. 19 and 20, in downtown Oakland; \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Art and Soul Festival is the best street festival I know, embracing visitors with the small town warmth of a country fair and a sense of the town’s great spirit. It’s a nice reminder of why we love this sometimes troubled city. Expect lots of food trucks and booths, and the chance not only to look at art, but to make it yourself. There’s some great music as well, including Oakland R&B singer Goapele, Panamanian hip-hop duo Los Rakas, and the John Brothers Piano Company. And it’s cheap — 12 bucks for adults, just seven for seniors, and free for kids under 12. Art and Soul in Oakland runs Saturday and Sunday, Aug. 19 and 20, in downtown Oakland; \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Undercover Presents has carved out a unique place in the Bay Area music scene, identifying great albums of the past and finding sympathetic musicians to reinterpret the music anew for modern audiences. This time they’ve hooked up with SFJAZZ to present four nights of classics: the music of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals. The Yerba Buena Center for the Arts, where this week’s Do List co-host Marc Bamuthi Joseph serves as the curator of art, hosted Undercover’s \u003cem>The Miseducation of Lauryn Hill\u003c/em> show last year — and Joseph says it was epic.\u003c/p>\n\u003cp>Undercover and SFJAZZ have assembled a 16 different acts for this four-day event running Aug. 17–20, including Miss Faye Carol, Bang Data, Kev Choice, the Broun Fellinis, the Oakland School for the Arts, Moetar, Katdelic and more. Grab your tickets quick — the Nina Simone night is already sold out. Runs Thursday through Sunday, Aug. 17–20, at SFJAZZ; \u003ca href=\"http://www.undercoverpresents.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a> or \u003ca href=\"https://sfjazz.org/events/sessions/2017/ray-charles\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Undercover Presents has carved out a unique place in the Bay Area music scene, identifying great albums of the past and finding sympathetic musicians to reinterpret the music anew for modern audiences. This time they’ve hooked up with SFJAZZ to present four nights of classics: the music of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals. The Yerba Buena Center for the Arts, where this week’s Do List co-host Marc Bamuthi Joseph serves as the curator of art, hosted Undercover’s \u003cem>The Miseducation of Lauryn Hill\u003c/em> show last year — and Joseph says it was epic.\u003c/p>\n\u003cp>Undercover and SFJAZZ have assembled a 16 different acts for this four-day event running Aug. 17–20, including Miss Faye Carol, Bang Data, Kev Choice, the Broun Fellinis, the Oakland School for the Arts, Moetar, Katdelic and more. Grab your tickets quick — the Nina Simone night is already sold out. Runs Thursday through Sunday, Aug. 17–20, at SFJAZZ; \u003ca href=\"http://www.undercoverpresents.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a> or \u003ca href=\"https://sfjazz.org/events/sessions/2017/ray-charles\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P_LoUAJM5PU&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8w861PcY0Fs\u003c/p>\n\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For us here, maybe there’s some regret that she had such a troubled homecoming, and reluctant acceptance that she had to leave to make sense of it. But the album is a compelling case that there is more going on than we might know, that no matter what we have here, for many the truth is out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\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/P_LoUAJM5PU'\n title='//www.youtube.com/embed/P_LoUAJM5PU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\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/8w861PcY0Fs'\n title='//www.youtube.com/embed/8w861PcY0Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s own \u003ca href=\"https://www.facebook.com/quinndeveaux1/\" target=\"_blank\" rel=\"noopener noreferrer\">Quinn DeVeaux \u003c/a>has a rough and tender voice, and plays what he calls “blue beat dance music.” My co-host Marc Bamuthi Joseph calls it “black joy, ‘jook’ joint music, like what your southern grandmama listened to back in the day when she was fast and in the mood for some trouble.” We’re both hoping to catch one of DeVeaux’s upcoming shows. He opens for \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rupa and the April Fishes\u003c/a> (Rupa Marya is the woman who \u003ca href=\"https://ww2.kqed.org/arts/2016/06/27/happy-birthday-song-has-been-set-free/\" target=\"_blank\" rel=\"noopener\">won the legal battle\u003c/a> to make the song “Happy Birthday” part of the public domain) at The New Parish in Oakland Aug. 18. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7527895&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Then he plays shows Thursday, Aug. 24 at Armando’s in Martinez (\u003ca href=\"http://armandosmartinez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), and Friday, Aug. 25, at the David Brower Center in Berkeley (\u003ca href=\"https://browercenter.org/program/beasts-roam-free-quinn-deveaux-solo/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zr4X7B9-5kI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The hunt is on! \u003ca href=\"http://noisepop.com/\">Noise Pop\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/\">KQED Arts\u003c/a> present an adventure-filled Instagram Hunt at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>One day only\u003c/li>\n\u003cli>10 emojis to find!\u003c/li>\n\u003c/ul>\n\u003cp>On Saturday, Aug. 19, we’ll place 10 oversized emojis\u003ca href=\"http://www.20thstreetblockparty.com/information\"> within the boundaries\u003c/a> of Noise Pop’s Block Party on 20th and 19th streets, between Bryant and Harrison and Florida and Alabama Streets. Your task? FIND THEM. \u003cstrong>The first three people to find all ten emoji between 2pm and 5pm will receive awesome prizes\u003c/strong> including: concert tickets, swag and even a night on the town!\u003c/p>\n\u003cp>Don’t forget to follow \u003ca href=\"https://www.instagram.com/noisepop/\">@NoisePop\u003c/a> and \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_ Arts\u003c/a> on Instagram, where we’ll share clues leading up to this Saturday’s hunt.\u003c/p>\n\u003ch4>\u003cb>To Play\u003c/b>\u003c/h4>\n\u003cul>\n\u003cli>Follow Noise Pop and KQED Arts’ on Instagram — so you don’t miss out on the clues!\u003c/li>\n\u003cli>Once you find an emoji, snap a picture of it at the secret location (selfies encouraged), then post to your Instagram or Instagram Stories using the hashtag \u003cstrong>#NPxKQEDHunt\u003c/strong>.\u003c/li>\n\u003cli>Once you find all 10, bingo! Send \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_Arts\u003c/a> a direct message to be eligible to win.\u003c/li>\n\u003cli>\u003cspan style=\"text-decoration: underline\">Important\u003c/span>: You must make your account public to be eligibile to win.\u003c/li>\n\u003c/ul>\n\u003cfigure class=\"wp-caption alignnone\">\u003c/figure>\n\u003ch4>\u003cb>Prizes\u003c/b>\u003c/h4>\n\u003cp>\u003cstrong>First Place:\u003c/strong> A ‘golden ticket’ to Cafe du Nord and Swedish American Hall for September. This gives you access to any and all shows at either venue for the month of September.\u003c/p>\n\u003cp>\u003cstrong>Second Place:\u003c/strong> One pair of tickets to the 20th Street Block Party after-party, with Neon Indian spinning a DJ set at Cafe du Nord.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Third Place:\u003c/strong> One merchandise package filled with KQED and Noise Pop goodies.\u003c/p>\n\u003ch4>\u003cb>Clues\u003c/b>\u003c/h4>\n\u003cp>\u003cem>Find all ten emoji within the boundaries of Noise Pop’s 20th Street Block Party using the clues below:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery ids=\"13806041,13806050,13806046,13806047,13806049,13806044,13806051,13806042,13806048,13806043\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hunt is on! \u003ca href=\"http://noisepop.com/\">Noise Pop\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/\">KQED Arts\u003c/a> present an adventure-filled Instagram Hunt at the \u003ca href=\"http://www.20thstreetblockparty.com/\">20th Street Block Party\u003c/a>.\u003c/p>\n\u003cul>\n\u003cli>One day only\u003c/li>\n\u003cli>10 emojis to find!\u003c/li>\n\u003c/ul>\n\u003cp>On Saturday, Aug. 19, we’ll place 10 oversized emojis\u003ca href=\"http://www.20thstreetblockparty.com/information\"> within the boundaries\u003c/a> of Noise Pop’s Block Party on 20th and 19th streets, between Bryant and Harrison and Florida and Alabama Streets. Your task? FIND THEM. \u003cstrong>The first three people to find all ten emoji between 2pm and 5pm will receive awesome prizes\u003c/strong> including: concert tickets, swag and even a night on the town!\u003c/p>\n\u003cp>Don’t forget to follow \u003ca href=\"https://www.instagram.com/noisepop/\">@NoisePop\u003c/a> and \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_ Arts\u003c/a> on Instagram, where we’ll share clues leading up to this Saturday’s hunt.\u003c/p>\n\u003ch4>\u003cb>To Play\u003c/b>\u003c/h4>\n\u003cul>\n\u003cli>Follow Noise Pop and KQED Arts’ on Instagram — so you don’t miss out on the clues!\u003c/li>\n\u003cli>Once you find an emoji, snap a picture of it at the secret location (selfies encouraged), then post to your Instagram or Instagram Stories using the hashtag \u003cstrong>#NPxKQEDHunt\u003c/strong>.\u003c/li>\n\u003cli>Once you find all 10, bingo! Send \u003ca href=\"https://www.instagram.com/kqed_arts/\">@KQED_Arts\u003c/a> a direct message to be eligible to win.\u003c/li>\n\u003cli>\u003cspan style=\"text-decoration: underline\">Important\u003c/span>: You must make your account public to be eligibile to win.\u003c/li>\n\u003c/ul>\n\u003cfigure class=\"wp-caption alignnone\">\u003c/figure>\n\u003ch4>\u003cb>Prizes\u003c/b>\u003c/h4>\n\u003cp>\u003cstrong>First Place:\u003c/strong> A ‘golden ticket’ to Cafe du Nord and Swedish American Hall for September. This gives you access to any and all shows at either venue for the month of September.\u003c/p>\n\u003cp>\u003cstrong>Second Place:\u003c/strong> One pair of tickets to the 20th Street Block Party after-party, with Neon Indian spinning a DJ set at Cafe du Nord.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jo Walker-Meador, Longtime CMA Executive Director, Dead At 93",
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"content": "\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Walker-Meador was herself elected to the Country Music Hall of Fame in 1995. \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=One+Of+Music+Row%27s+Most+Influential+Leaders%2C+Jo+Walker-Meador%2C+Has+Died+At+93&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Walker-Meador was herself elected to the Country Music Hall of Fame in 1995. \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=One+Of+Music+Row%27s+Most+Influential+Leaders%2C+Jo+Walker-Meador%2C+Has+Died+At+93&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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