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"content": "\u003cp>So what do you do if you’re a recently crowned Head of State and you’re already facing opposition—even from within your own family? One answer is optics. Make a big, public splash; throw a lavish party with A-list musical entertainment. That’s just what happened in London – 300 years ago today.\u003c/p>\n\u003cp>In July, 1717, King George I of England was feeling heat from an opposing political faction gathering around his son, the Prince of Wales. The King must have thought: “How can I turn the spotlight back on \u003cem>me\u003c/em>?” What about a boating party along the Thames? With an orchestra!\u003c/p>\n\u003cp>The King’s boating blowout gave birth to a smash hit – \u003cem>Water Music\u003c/em>, composed by \u003ca href=\"http://www.npr.org/artists/15509811/george-frideric-handel\" target=\"_blank\" rel=\"noopener\">George Frideric Handel\u003c/a> for his majesty’s royal ride up the Thames.\u003c/p>\n\u003cp>“This was a new thing,” says conductor \u003ca href=\"http://www.npr.org/artists/103057885/nicholas-mcgegan\" target=\"_blank\" rel=\"noopener\">Nicholas McGegan\u003c/a>, “to have quite such elegant and organized music in a barge towing behind the royal one, where the King sat with his two mistresses and watched the world go by.”\u003c/p>\n\u003cp>McGegan is marking the 300th anniversary of \u003cem>Water Music\u003c/em> by conducting the piece at a dry dock in Hull, England later this week. The political intrigue behind the music is no surprise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The tradition in the Georgian household was to hate your children,” McGegan notes. “And that happened over generation over generation. So it was a big publicity deal for [King George] and another way of making his son look bad.”\u003c/p>\n\u003cp>The King got the publicity he wanted. Two days later, a London newspaper crowed:\u003c/p>\n\u003cblockquote>\n\u003cp>On Wednesday evening, at about 8, the King took Water at Whitehall in an open barge … wherein were 50 instruments\u003cstrong> \u003c/strong>of all sorts, who play’d … the finest Symphonies compos’d express for the Occasion by Mr. Hendel, which his Majesty liked so well, that he caus’d it to be plaid over three times in going and returning.\u003c/p>\n\u003c/blockquote>\n\u003cp>A few of those “50 instruments” were brand new to the Brits – like French horns.\u003c/p>\n\u003cp>“The audience would, I think, say, ‘What was that funny instrument we heard? Hunting horns, but not ones that play tunes,'” McGegan says. “The horn players had to come from Bohemia, which was sort of the central place for all horn players. I guess the beer is really good.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UcknsYVgdkM\u003c/p>\n\u003cp>Handel’s hour-long \u003cem>Water Music\u003c/em> comes in three suites of tunes – an ingenious blend of popular styles of the day.\u003c/p>\n\u003cp>“Handel is definitely the non-Brexit composer,” McGegan says. “He takes stuff from France, Germany, Italy and mixes it all up. It’s very much pan-European music, if you like.”\u003c/p>\n\u003cp>Living in London, Handel was smart enough to know he also had to throw something very English into the mix. He came up with the “Alla Hornpipe,” a variation on a dance that became \u003cem>Water Music\u003c/em>‘s signature tune.\u003c/p>\n\u003cp>“The hornpipe is an English dance particularly associated with sailors,” McGegan says, “and involves a lot of jumping up and down, and being a bit of a peacock as a dancer, to show off to the molls on the shore.”\u003c/p>\n\u003cp>Londoners lined the banks of the Thames and squeezed boats into the river to hear the music and catch a glimpse of the Royals. It was a spectacle the likes of which they’d never seen. It was also a public relations coup for King George. But would such an obvious diversion work for politicians today?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it happens all the time doesn’t it?” McGegan says, with a chuckle. “Of course they wouldn’t ask a fabulous composer like John Adams to write them some wonderful music. They’d probably get in some rather trashy rock band.” \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=300+Years+Of+Handel%27s+%27Water+Music%27%2C+With+A+Splash+Of+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So what do you do if you’re a recently crowned Head of State and you’re already facing opposition—even from within your own family? One answer is optics. Make a big, public splash; throw a lavish party with A-list musical entertainment. That’s just what happened in London – 300 years ago today.\u003c/p>\n\u003cp>In July, 1717, King George I of England was feeling heat from an opposing political faction gathering around his son, the Prince of Wales. The King must have thought: “How can I turn the spotlight back on \u003cem>me\u003c/em>?” What about a boating party along the Thames? With an orchestra!\u003c/p>\n\u003cp>The King’s boating blowout gave birth to a smash hit – \u003cem>Water Music\u003c/em>, composed by \u003ca href=\"http://www.npr.org/artists/15509811/george-frideric-handel\" target=\"_blank\" rel=\"noopener\">George Frideric Handel\u003c/a> for his majesty’s royal ride up the Thames.\u003c/p>\n\u003cp>“This was a new thing,” says conductor \u003ca href=\"http://www.npr.org/artists/103057885/nicholas-mcgegan\" target=\"_blank\" rel=\"noopener\">Nicholas McGegan\u003c/a>, “to have quite such elegant and organized music in a barge towing behind the royal one, where the King sat with his two mistresses and watched the world go by.”\u003c/p>\n\u003cp>McGegan is marking the 300th anniversary of \u003cem>Water Music\u003c/em> by conducting the piece at a dry dock in Hull, England later this week. The political intrigue behind the music is no surprise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The tradition in the Georgian household was to hate your children,” McGegan notes. “And that happened over generation over generation. So it was a big publicity deal for [King George] and another way of making his son look bad.”\u003c/p>\n\u003cp>The King got the publicity he wanted. Two days later, a London newspaper crowed:\u003c/p>\n\u003cblockquote>\n\u003cp>On Wednesday evening, at about 8, the King took Water at Whitehall in an open barge … wherein were 50 instruments\u003cstrong> \u003c/strong>of all sorts, who play’d … the finest Symphonies compos’d express for the Occasion by Mr. Hendel, which his Majesty liked so well, that he caus’d it to be plaid over three times in going and returning.\u003c/p>\n\u003c/blockquote>\n\u003cp>A few of those “50 instruments” were brand new to the Brits – like French horns.\u003c/p>\n\u003cp>“The audience would, I think, say, ‘What was that funny instrument we heard? Hunting horns, but not ones that play tunes,'” McGegan says. “The horn players had to come from Bohemia, which was sort of the central place for all horn players. I guess the beer is really good.”\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/UcknsYVgdkM'\n title='//www.youtube.com/embed/UcknsYVgdkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Handel’s hour-long \u003cem>Water Music\u003c/em> comes in three suites of tunes – an ingenious blend of popular styles of the day.\u003c/p>\n\u003cp>“Handel is definitely the non-Brexit composer,” McGegan says. “He takes stuff from France, Germany, Italy and mixes it all up. It’s very much pan-European music, if you like.”\u003c/p>\n\u003cp>Living in London, Handel was smart enough to know he also had to throw something very English into the mix. He came up with the “Alla Hornpipe,” a variation on a dance that became \u003cem>Water Music\u003c/em>‘s signature tune.\u003c/p>\n\u003cp>“The hornpipe is an English dance particularly associated with sailors,” McGegan says, “and involves a lot of jumping up and down, and being a bit of a peacock as a dancer, to show off to the molls on the shore.”\u003c/p>\n\u003cp>Londoners lined the banks of the Thames and squeezed boats into the river to hear the music and catch a glimpse of the Royals. It was a spectacle the likes of which they’d never seen. It was also a public relations coup for King George. But would such an obvious diversion work for politicians today?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it happens all the time doesn’t it?” McGegan says, with a chuckle. “Of course they wouldn’t ask a fabulous composer like John Adams to write them some wonderful music. They’d probably get in some rather trashy rock band.” \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=300+Years+Of+Handel%27s+%27Water+Music%27%2C+With+A+Splash+Of+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Those who assume that an orchestra can’t possibly be relevant or cool obviously haven’t heard of Minna Choi. While studying composition at the San Francisco Conservatory of Music, the Bay Area native formed Magik*Magik Orchestra, a rotating group of around 150 instrumentalists who have since collaborated with the likes of Sting, Weezer, Carlos Santana, and Radiohead’s Jonny Greenwood, among others. She’s also worked on the video game soundtrack for \u003cem>Iron Man 2\u003c/em>, and film scores for \u003ca href=\"https://www.youtube.com/watch?v=eI3ju17W070\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Looper\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=VW4XO-52ubE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kill the Messenger\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Now, Choi becomes a talent to watch yet again as she steps out with her first solo project titled Magik*Magik. According to Chris Walla, Death Cab for Cutie’s lead guitarist and producer: “She is a genuinely, honestly, world-class, no B.S. kind of unbelievable musical mind. She’s really, really incredible.”\u003c/p>\n\u003cp>After chatting with her about her hurricane-like writing process, growing up as the child of immigrants, and the glory of Björk, I’d have to strongly agree.\u003c/p>\n\u003cp>https://youtu.be/Mc_EtTBKZWo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Did you always know you wanted to explore becoming a musician, or was there another dream that captured baby Minna’s imagination? \u003c/strong>\u003c/p>\n\u003cp>Baby Minna definitely loved music more than anything else. My mom told me that I learned how to work a tape deck — play and rewind and stop — before I learned how to talk. But I didn’t think about pursuing music as a career until much later in life because, in my family, becoming a musician was kind of frowned upon. I was always afraid of going into music because I was afraid of rejection. I studied Communications in undergrad, and after graduation, I got tons of rejections — in this field that I had really lukewarm feelings about. So I finally decided that if I’m going to be getting rejected every day, I’d rather be rejected for something I love.\u003c/p>\n\u003cfigure id=\"attachment_91680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.37-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-91680\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.37-AM-1020x813.png\" alt=\"\" width=\"640\" height=\"510\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Manchul Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the only child of Korean immigrants, and being a child of immigrants myself, I know how anxious it makes some parents to see their kids follow a more artistic, less practical profession. How did they react when you decided to focus on music as a career? \u003c/strong>\u003c/p>\n\u003cp>They were very against it. They had always told me that people who make it in music are the extreme child-prodigy geniuses. That if you’re not one of those people, your life is just going to be one miserable disappointment. [laughs] I told them, “I know I’m not one of those people, but this is what makes me happy.”\u003c/p>\n\u003cp>I attacked my grad program at the San Francisco Conservatory with a fury. I thought of it as my one chance to prove to my family that this was something viable for me. My parents watched me speak at my graduation. A couple of days after that, the Magik*Magik Orchestra, which I started between my first and second year at school, played a big benefit concert at Davies Symphony Hall. The headliner was Sting, and it was a 60-piece orchestra that I put together. I wrote all the arrangements. There were 2,500 people in the audience. After that, my parents were like, \u003cem>Yeah, maybe.\u003c/em>\u003c/p>\n\u003cp>Months later, I got offered a full-time job as a music director at a local church. That’s when they started breathing easy. Now they’re behind it 100-percent. It took many moments: getting into grad school — \u003cem>Oh, maybe\u003c/em> — the Sting thing — \u003cem>Oh, okay\u003c/em> — and then the church thing — \u003cem>We’re cool with it now.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_91681\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.14-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-91681\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.14-AM-1020x678.png\" alt=\"\" width=\"640\" height=\"425\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Manchul Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re now becoming a role model for the women who will come after you. Are you able to take that in, or is it hard to think of yourself in that way?\u003c/strong>\u003c/p>\n\u003cp>I think the term “role model” feels a little scary, but I do try to act as a cheerleader and a comrade to a lot of people. I host this community salon-style thing for artists of all backgrounds at my house once a month called A Sunday Dinner for Artists. I cook dinner, and we sit down and eat together. I set up a projector and some speakers, and people share what they’re working on, or ask for feedback, or just share something that inspires them. Being there for fellow artists as much as I can emotionally and in a \u003cem>Rah! Rah! We can do it!\u003c/em> kind of way is an important part of my artistic mission and something I make time for.\u003c/p>\n\u003cp>When you’re creating or even just listening to music, you’ve said that you’re on the hunt for a surprising moment. Once you find that, it’s a good song. What’s one of your favorite surprising musical moments of all time?\u003c/p>\n\u003cp>For me, a song doesn’t have to be great the whole time, as long as there’s something surprising or unexpected. Björk is my favorite artist of all time. A great example is when “It’s Oh So Quiet” goes from hushed to chaotic a minute into the song. It’s perfect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TEC4nZ-yga8\u003c/p>\n\u003cp>\u003cstrong>You’ve recently branched out from arranging and conducting to produce your own LP, \u003cem>Magik*Magik\u003c/em>. What called you to make that switch? What’s it been like stepping into the spotlight? \u003c/strong>\u003c/p>\n\u003cp>Chris Walla, who was the guitarist and producer for Death Cab for Cutie, approached me a few years ago and said it bummed him out that I’m always in the back behind someone else and didn’t have my own music out there. He offered to fund my record and release it on his label. It started out being about not wanting to say no to Chris and learning how to do a new thing, but when I got really into it, I realized I really like writing original songs. The process isn’t as painful as it was when I was a teenager. It’s now inspired me to keep writing. I’ve been writing like crazy this year. I’ve finished 20 songs since the New Year because it was one of my resolutions.\u003c/p>\n\u003cp>When you’re writing about something that happened to you and it’s your own artist mission statement on the line, it’s really emotionally turbulent. Maybe for other people, it’s more freeing, but for me, because it was my first statement out there, I wanted to make sure what I was claiming to be my voice really was my voice. It was an internal artistic exploration that felt really angsty and furious at times. I think I was taking things a bit too seriously, which made every decision feel scary. I feel a lot calmer now.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>An ideal future for a woman artist wouldn’t be that dissimilar from an ideal future for a male artist. We would be able to live here and afford an apartment, that’s number one. We would be able to have a healthy mix of writing music for ourselves and writing music for others. Back in the day, writing music on commission was considered a form of selling out. Being commissioned to write music for events or something special in someone’s life used to happen so much more in classical times. Small commissions like that are a sign of a healthy society, one that values music and art as something beautiful and important to their everyday lives. I would love to work in a city where we returned to that kind of appreciation of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Women to Watch: Minna Choi",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Those who assume that an orchestra can’t possibly be relevant or cool obviously haven’t heard of Minna Choi. While studying composition at the San Francisco Conservatory of Music, the Bay Area native formed Magik*Magik Orchestra, a rotating group of around 150 instrumentalists who have since collaborated with the likes of Sting, Weezer, Carlos Santana, and Radiohead’s Jonny Greenwood, among others. She’s also worked on the video game soundtrack for \u003cem>Iron Man 2\u003c/em>, and film scores for \u003ca href=\"https://www.youtube.com/watch?v=eI3ju17W070\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Looper\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=VW4XO-52ubE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kill the Messenger\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Now, Choi becomes a talent to watch yet again as she steps out with her first solo project titled Magik*Magik. According to Chris Walla, Death Cab for Cutie’s lead guitarist and producer: “She is a genuinely, honestly, world-class, no B.S. kind of unbelievable musical mind. She’s really, really incredible.”\u003c/p>\n\u003cp>After chatting with her about her hurricane-like writing process, growing up as the child of immigrants, and the glory of Björk, I’d have to strongly agree.\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/Mc_EtTBKZWo'\n title='//www.youtube.com/embed/Mc_EtTBKZWo'\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>\u003cstrong>Did you always know you wanted to explore becoming a musician, or was there another dream that captured baby Minna’s imagination? \u003c/strong>\u003c/p>\n\u003cp>Baby Minna definitely loved music more than anything else. My mom told me that I learned how to work a tape deck — play and rewind and stop — before I learned how to talk. But I didn’t think about pursuing music as a career until much later in life because, in my family, becoming a musician was kind of frowned upon. I was always afraid of going into music because I was afraid of rejection. I studied Communications in undergrad, and after graduation, I got tons of rejections — in this field that I had really lukewarm feelings about. So I finally decided that if I’m going to be getting rejected every day, I’d rather be rejected for something I love.\u003c/p>\n\u003cfigure id=\"attachment_91680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.37-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-91680\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.37-AM-1020x813.png\" alt=\"\" width=\"640\" height=\"510\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Manchul Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re the only child of Korean immigrants, and being a child of immigrants myself, I know how anxious it makes some parents to see their kids follow a more artistic, less practical profession. How did they react when you decided to focus on music as a career? \u003c/strong>\u003c/p>\n\u003cp>They were very against it. They had always told me that people who make it in music are the extreme child-prodigy geniuses. That if you’re not one of those people, your life is just going to be one miserable disappointment. [laughs] I told them, “I know I’m not one of those people, but this is what makes me happy.”\u003c/p>\n\u003cp>I attacked my grad program at the San Francisco Conservatory with a fury. I thought of it as my one chance to prove to my family that this was something viable for me. My parents watched me speak at my graduation. A couple of days after that, the Magik*Magik Orchestra, which I started between my first and second year at school, played a big benefit concert at Davies Symphony Hall. The headliner was Sting, and it was a 60-piece orchestra that I put together. I wrote all the arrangements. There were 2,500 people in the audience. After that, my parents were like, \u003cem>Yeah, maybe.\u003c/em>\u003c/p>\n\u003cp>Months later, I got offered a full-time job as a music director at a local church. That’s when they started breathing easy. Now they’re behind it 100-percent. It took many moments: getting into grad school — \u003cem>Oh, maybe\u003c/em> — the Sting thing — \u003cem>Oh, okay\u003c/em> — and then the church thing — \u003cem>We’re cool with it now.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_91681\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.14-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-91681\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-13-at-11.51.14-AM-1020x678.png\" alt=\"\" width=\"640\" height=\"425\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Manchul Kim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re now becoming a role model for the women who will come after you. Are you able to take that in, or is it hard to think of yourself in that way?\u003c/strong>\u003c/p>\n\u003cp>I think the term “role model” feels a little scary, but I do try to act as a cheerleader and a comrade to a lot of people. I host this community salon-style thing for artists of all backgrounds at my house once a month called A Sunday Dinner for Artists. I cook dinner, and we sit down and eat together. I set up a projector and some speakers, and people share what they’re working on, or ask for feedback, or just share something that inspires them. Being there for fellow artists as much as I can emotionally and in a \u003cem>Rah! Rah! We can do it!\u003c/em> kind of way is an important part of my artistic mission and something I make time for.\u003c/p>\n\u003cp>When you’re creating or even just listening to music, you’ve said that you’re on the hunt for a surprising moment. Once you find that, it’s a good song. What’s one of your favorite surprising musical moments of all time?\u003c/p>\n\u003cp>For me, a song doesn’t have to be great the whole time, as long as there’s something surprising or unexpected. Björk is my favorite artist of all time. A great example is when “It’s Oh So Quiet” goes from hushed to chaotic a minute into the song. It’s perfect.\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/TEC4nZ-yga8'\n title='//www.youtube.com/embed/TEC4nZ-yga8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’ve recently branched out from arranging and conducting to produce your own LP, \u003cem>Magik*Magik\u003c/em>. What called you to make that switch? What’s it been like stepping into the spotlight? \u003c/strong>\u003c/p>\n\u003cp>Chris Walla, who was the guitarist and producer for Death Cab for Cutie, approached me a few years ago and said it bummed him out that I’m always in the back behind someone else and didn’t have my own music out there. He offered to fund my record and release it on his label. It started out being about not wanting to say no to Chris and learning how to do a new thing, but when I got really into it, I realized I really like writing original songs. The process isn’t as painful as it was when I was a teenager. It’s now inspired me to keep writing. I’ve been writing like crazy this year. I’ve finished 20 songs since the New Year because it was one of my resolutions.\u003c/p>\n\u003cp>When you’re writing about something that happened to you and it’s your own artist mission statement on the line, it’s really emotionally turbulent. Maybe for other people, it’s more freeing, but for me, because it was my first statement out there, I wanted to make sure what I was claiming to be my voice really was my voice. It was an internal artistic exploration that felt really angsty and furious at times. I think I was taking things a bit too seriously, which made every decision feel scary. I feel a lot calmer now.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>An ideal future for a woman artist wouldn’t be that dissimilar from an ideal future for a male artist. We would be able to live here and afford an apartment, that’s number one. We would be able to have a healthy mix of writing music for ourselves and writing music for others. Back in the day, writing music on commission was considered a form of selling out. Being commissioned to write music for events or something special in someone’s life used to happen so much more in classical times. Small commissions like that are a sign of a healthy society, one that values music and art as something beautiful and important to their everyday lives. I would love to work in a city where we returned to that kind of appreciation of art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Peter “Principle” Dachert, longtime bassist and songwriter for experimental post-punk band Tuxedomoon, was found dead Monday morning of natural causes, according to his bandmates. He was 63.\u003c/p>\n\u003cp>[contextly_sidebar id=”awaZNNxs5yf8FaFlUwLgShwO0WGQOsAy”]\u003c/p>\n\u003cp>“It is my very sad duty to inform the world that our colleague and brother, Peter Principle has left this world behind,” Tuxedomoon founder Blaine L. Reininger wrote on his Facebook page. “We are all stunned.”\u003c/p>\n\u003cp>Reininger and Steven Brown started Tuxedomoon in San Francisco back in the mid 1970s. New York City transplant Dachert (using the stage name \u003ca href=\"https://en.wikipedia.org/wiki/Peter_principle\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Principle\u003c/a>), performance artist Winston Tong and filmmaker Bruce Geduldig joined a little later when the group began playing live. The band would go on to be an important influence on the underground music scene, bucking musical trends to create a sound all their own. As rock critic \u003ca href=\"http://dangerousminds.net/comments/no_tears_tuxedomoons_peter_principle_dead_at_63\" target=\"_blank\" rel=\"noopener\">Richard Metzger writes\u003c/a>, Tuxedomoon did “something truly dangerous, pioneering “new wave” and post-punk before either term existed.”\u003c/p>\n\u003cp>Dachert played with the group throughout the ’80s and after the band reunited in the 2000s, following an eight-year hiatus. He played bass and guitar on all of the band’s releases, including its 11 studio albums, and co-wrote a majority of Tuxedomoon’s songs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A New York resident, at the time of his death Dachert was staying in Brussels, where Tuxedomoon writing new music, according to the \u003ca href=\"https://tuxedomoonews.blogspot.com/2017/07/peter-principle-dead-at-63.html\" target=\"_blank\" rel=\"noopener\">band’s blog\u003c/a>.\u003c/p>\n\u003cp>Tuxedomoon was to play \u003ca href=\"http://tuxedomoon.co/tuxedomoon_live_dates.htm\" target=\"_blank\" rel=\"noopener noreferrer\">several dates in Europe\u003c/a>, starting on Jul. 28 with a show in Italy. It was unclear Monday whether the band would still be able to play those dates. \u003cb>UPDATE:\u003c/b> Tuxedomoon has canceled the European tour.\u003c/p>\n\u003cp>Dachert’s death comes a little more than one year after fellow band member Bruce \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/tuxedomoons-bruce-geduldig-dies-at-the-age-of-63/\" target=\"_blank\" rel=\"noopener noreferrer\">Geduldig died\u003c/a> on his 63rd birthday.\u003c/p>\n\u003cp>\u003ci>See Dachert play bass with Tuxedomoon on this clip from the movie \u003cb>Downtown 81\u003c/b>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fRZAwy9evCE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter “Principle” Dachert, longtime bassist and songwriter for experimental post-punk band Tuxedomoon, was found dead Monday morning of natural causes, according to his bandmates. He was 63.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It is my very sad duty to inform the world that our colleague and brother, Peter Principle has left this world behind,” Tuxedomoon founder Blaine L. Reininger wrote on his Facebook page. “We are all stunned.”\u003c/p>\n\u003cp>Reininger and Steven Brown started Tuxedomoon in San Francisco back in the mid 1970s. New York City transplant Dachert (using the stage name \u003ca href=\"https://en.wikipedia.org/wiki/Peter_principle\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Principle\u003c/a>), performance artist Winston Tong and filmmaker Bruce Geduldig joined a little later when the group began playing live. The band would go on to be an important influence on the underground music scene, bucking musical trends to create a sound all their own. As rock critic \u003ca href=\"http://dangerousminds.net/comments/no_tears_tuxedomoons_peter_principle_dead_at_63\" target=\"_blank\" rel=\"noopener\">Richard Metzger writes\u003c/a>, Tuxedomoon did “something truly dangerous, pioneering “new wave” and post-punk before either term existed.”\u003c/p>\n\u003cp>Dachert played with the group throughout the ’80s and after the band reunited in the 2000s, following an eight-year hiatus. He played bass and guitar on all of the band’s releases, including its 11 studio albums, and co-wrote a majority of Tuxedomoon’s songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A New York resident, at the time of his death Dachert was staying in Brussels, where Tuxedomoon writing new music, according to the \u003ca href=\"https://tuxedomoonews.blogspot.com/2017/07/peter-principle-dead-at-63.html\" target=\"_blank\" rel=\"noopener\">band’s blog\u003c/a>.\u003c/p>\n\u003cp>Tuxedomoon was to play \u003ca href=\"http://tuxedomoon.co/tuxedomoon_live_dates.htm\" target=\"_blank\" rel=\"noopener noreferrer\">several dates in Europe\u003c/a>, starting on Jul. 28 with a show in Italy. It was unclear Monday whether the band would still be able to play those dates. \u003cb>UPDATE:\u003c/b> Tuxedomoon has canceled the European tour.\u003c/p>\n\u003cp>Dachert’s death comes a little more than one year after fellow band member Bruce \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/tuxedomoons-bruce-geduldig-dies-at-the-age-of-63/\" target=\"_blank\" rel=\"noopener noreferrer\">Geduldig died\u003c/a> on his 63rd birthday.\u003c/p>\n\u003cp>\u003ci>See Dachert play bass with Tuxedomoon on this clip from the movie \u003cb>Downtown 81\u003c/b>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fRZAwy9evCE'\n title='//www.youtube.com/embed/fRZAwy9evCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
"title": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
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"content": "\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CeCstLTB0EI\u003c/p>\n\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n",
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"excerpt": "Tim Z. Hernandez spent years unearthing the names and stories of 28 people who died in one of California's worst plane crashes, until now identified only as ‘deportees.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\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/CeCstLTB0EI'\n title='//www.youtube.com/embed/CeCstLTB0EI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the past few days, an old, hitherto unknown music video has gone viral: the music video for “In Another Life,” by Russian pop star Emin. In the video, the singer frolics in a mansion with contestants from the 2013 Miss Universe pageant — the beauty contest then owned by Donald Trump.\u003c/p>\n\u003cp>At the end of the video, Emin (full name: Emin Agalarov) wakes up from his fantasy. The video cuts to Trump at the head of a conference table, delivering lines straight from \u003cem>The Apprentice: \u003c/em>“Emin, let’s get with it. You’re always late. You’re just another pretty face. … You’re fired.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuZUNjFsgS8\u003c/p>\n\u003cp>Ever since Agalarov was revealed as one of the people who \u003ca href=\"http://www.npr.org/2017/07/11/536670194/donald-trump-jr-s-emails-about-meeting-with-russian-lawyer-annotated\" target=\"_blank\" rel=\"noopener\">arranged Donald Trump Jr.’s 2016 meeting\u003c/a> with a Russian lawyer who promised damaging information about rival candidate Hillary Clinton, this video and the rest of his online trail have been fodder for people curious to know more.\u003c/p>\n\u003cp>That trail is littered with plenty of photos of Agalarov with Trump over the years, as well as a \u003ca href=\"https://www.youtube.com/watch?v=6cKuqLx3A-8\">videotaped birthday message\u003c/a> Trump sent Agalarov in 2015. “You’re a winner, you’re a champ, you’re great at real estate, and boy, can you entertain,” Trump enthused.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And after Trump won the presidency, Agalarov returned the compliment with his own \u003ca href=\"https://www.instagram.com/p/BMohqTtBC7h/\">video\u003c/a>: “You’re an absolute winner. You proved everybody wrong. It’s incredible, congratulations.”\u003c/p>\n\u003cp>A few months ago, Agalarov boasted to \u003ca href=\"https://www.forbes.com/sites/noahkirsch/2017/03/20/russian-billionaire-family-trump-ties-ongoing/#4c36272e69b3\">\u003cem>Forbes\u003c/em>\u003c/a> of his continued access to the Trump family. And Agalarov’s connections don’t stop there: His billionaire father, Aras Agalarov, is close to Vladimir Putin, and his ex-wife is the daughter of the president of Azerbaijan, where Agalarov was born.\u003c/p>\n\u003cp>Agalarov grew up in Moscow and went to college in New York. He’s now executive vice president of his family’s real estate company, the Crocus Group. And when he’s not developing Russian shopping centers, resorts and boutiques, he’s recording and performing around the world.\u003c/p>\n\u003cp>Emin has covered \u003ca href=\"http://www.npr.org/artists/15396980/frank-sinatra\" target=\"_blank\" rel=\"noopener\">Frank Sinatra\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> in the past, and his latest single is “Good Love,” from a new album coming out this year. But \u003cem>LA Times\u003c/em> pop critic Mikael Wood, for one, is hardly impressed.\u003c/p>\n\u003cp>“This guy’s music is about as bland as it could be,” Wood says. “He’s like a bad \u003ca href=\"http://www.npr.org/artists/506983447/george-michael\" target=\"_blank\" rel=\"noopener\">George Michael\u003c/a> or a bad Michael Bublé or he’s a bad Ricky Martin, depending on the song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqCIWGdLI\u003c/p>\n\u003cp>At some point in his music career, Agalarov — apparently a Russian sensation — became the client of \u003ca href=\"http://www.npr.org/2017/07/10/536456901/he-says-he-connected-trump-jr-to-russian-lawyer-put-trump-sr-in-a-music-video\" target=\"_blank\" rel=\"noopener\">Rob Goldstone\u003c/a>, a British-born music publicist. The Russian government had reached out to Agalarov’s father, after which Agalarov asked Goldstone to connect Trump Jr. with the Russian lawyer who promised damaging information about Clinton. None of these players was available for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just weeks ago, Agalarov ended his U.S. tour with a concert at Lincoln Center, where he was joined onstage by musicians David Foster and Nile Rodgers. Now, he’s center stage with Donald Trump — and everyone knows his name. \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=Meet+Emin+Agalarov%2C+Trump-Connected+Russian+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few days, an old, hitherto unknown music video has gone viral: the music video for “In Another Life,” by Russian pop star Emin. In the video, the singer frolics in a mansion with contestants from the 2013 Miss Universe pageant — the beauty contest then owned by Donald Trump.\u003c/p>\n\u003cp>At the end of the video, Emin (full name: Emin Agalarov) wakes up from his fantasy. The video cuts to Trump at the head of a conference table, delivering lines straight from \u003cem>The Apprentice: \u003c/em>“Emin, let’s get with it. You’re always late. You’re just another pretty face. … You’re fired.”\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/iuZUNjFsgS8'\n title='//www.youtube.com/embed/iuZUNjFsgS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ever since Agalarov was revealed as one of the people who \u003ca href=\"http://www.npr.org/2017/07/11/536670194/donald-trump-jr-s-emails-about-meeting-with-russian-lawyer-annotated\" target=\"_blank\" rel=\"noopener\">arranged Donald Trump Jr.’s 2016 meeting\u003c/a> with a Russian lawyer who promised damaging information about rival candidate Hillary Clinton, this video and the rest of his online trail have been fodder for people curious to know more.\u003c/p>\n\u003cp>That trail is littered with plenty of photos of Agalarov with Trump over the years, as well as a \u003ca href=\"https://www.youtube.com/watch?v=6cKuqLx3A-8\">videotaped birthday message\u003c/a> Trump sent Agalarov in 2015. “You’re a winner, you’re a champ, you’re great at real estate, and boy, can you entertain,” Trump enthused.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And after Trump won the presidency, Agalarov returned the compliment with his own \u003ca href=\"https://www.instagram.com/p/BMohqTtBC7h/\">video\u003c/a>: “You’re an absolute winner. You proved everybody wrong. It’s incredible, congratulations.”\u003c/p>\n\u003cp>A few months ago, Agalarov boasted to \u003ca href=\"https://www.forbes.com/sites/noahkirsch/2017/03/20/russian-billionaire-family-trump-ties-ongoing/#4c36272e69b3\">\u003cem>Forbes\u003c/em>\u003c/a> of his continued access to the Trump family. And Agalarov’s connections don’t stop there: His billionaire father, Aras Agalarov, is close to Vladimir Putin, and his ex-wife is the daughter of the president of Azerbaijan, where Agalarov was born.\u003c/p>\n\u003cp>Agalarov grew up in Moscow and went to college in New York. He’s now executive vice president of his family’s real estate company, the Crocus Group. And when he’s not developing Russian shopping centers, resorts and boutiques, he’s recording and performing around the world.\u003c/p>\n\u003cp>Emin has covered \u003ca href=\"http://www.npr.org/artists/15396980/frank-sinatra\" target=\"_blank\" rel=\"noopener\">Frank Sinatra\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> in the past, and his latest single is “Good Love,” from a new album coming out this year. But \u003cem>LA Times\u003c/em> pop critic Mikael Wood, for one, is hardly impressed.\u003c/p>\n\u003cp>“This guy’s music is about as bland as it could be,” Wood says. “He’s like a bad \u003ca href=\"http://www.npr.org/artists/506983447/george-michael\" target=\"_blank\" rel=\"noopener\">George Michael\u003c/a> or a bad Michael Bublé or he’s a bad Ricky Martin, depending on the song.”\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/ZJbqCIWGdLI'\n title='//www.youtube.com/embed/ZJbqCIWGdLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At some point in his music career, Agalarov — apparently a Russian sensation — became the client of \u003ca href=\"http://www.npr.org/2017/07/10/536456901/he-says-he-connected-trump-jr-to-russian-lawyer-put-trump-sr-in-a-music-video\" target=\"_blank\" rel=\"noopener\">Rob Goldstone\u003c/a>, a British-born music publicist. The Russian government had reached out to Agalarov’s father, after which Agalarov asked Goldstone to connect Trump Jr. with the Russian lawyer who promised damaging information about Clinton. None of these players was available for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just weeks ago, Agalarov ended his U.S. tour with a concert at Lincoln Center, where he was joined onstage by musicians David Foster and Nile Rodgers. Now, he’s center stage with Donald Trump — and everyone knows his name. \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=Meet+Emin+Agalarov%2C+Trump-Connected+Russian+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kid Rock Claims Michigan Senate Bid is 'Not A Hoax'",
"headTitle": "Kid Rock Claims Michigan Senate Bid is ‘Not A Hoax’ | KQED",
"content": "\u003cp>Kid Rock, the singer whose career has spanned rap, hard rock and country music, is fueling the speculation that he intends to announce a bid for the U.S. Senate next year to challenge incumbent Democrat Debbie Stabenow. That is unless it’s all a publicity stunt.\u003c/p>\n\u003cp>In a post on his personal website Thursday evening, \u003ca href=\"https://kidrock.com/blog/announcement/447744/once-again-the-press-is-wrong\" target=\"_blank\" rel=\"noopener\">the 46-year-old singer wrote\u003c/a>, “Like politicians write books during their campaigns, I’m planning on putting out music during mine and IT ALL STARTS TONIGHT AT MIDNIGHT.”\u003c/p>\n\u003cp>The post continued, “Senator Stabenow and I do share a love of music, although probably not the same kind. I concede she is better at playing politics than I am so I’ll keep doing what I do best, which is being a voice for tax paying, hardworking AMERICANS…”\u003c/p>\n\u003cp>Earlier this week, Kid Rock, whose legal name is Robert James Ritchie, tweeted a picture of a “Kid Rock for US Senate” sign along with what appears to be a campaign website.\u003c/p>\n\u003cp>But after a teasing a big announcement in his Thursday post, Kid Rock announced he’s releasing two new songs on Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So far, Ritchie has not filed a statement of candidacy with the Federal Election Commission. The Kid Rock for Senate website sells campaign-themed merchandise but directs to a Warner Bros. record label website to complete transactions. That site does not ask the questions campaign websites must ask, such as whether the donor is an American citizen. The FEC says candidates must register \u003ca href=\"https://www.fec.gov/updates/testing-the-waters-2017/\" target=\"_blank\" rel=\"noopener\">if they raise or spend more than $5,000\u003c/a>.\u003c/p>\n\u003cp>In recent years, Kid Rock has become increasingly identified with conservative politics. Mitt Romney’s 2012 presidential campaign used his song, “Born Free” as its campaign theme song. Earlier this year, he attended \u003ca href=\"https://www.sarahpalin.com/behind-scenes-photos-awesome-evening-white-house/\" target=\"_blank\" rel=\"noopener\">a dinner at the White House\u003c/a> with President Trump and former Alaska Gov. Sarah Palin.\u003c/p>\n\u003cp>While Kid Rock’s hard living rock-and-roll lifestyle, which includes a sex tape and assault charges, would traditionally be considered a liability for a political candidate, the success of President Trump’s campaign last year may encourage more unconventional candidates to run for office.\u003c/p>\n\u003cp>And a lot of what’s adding fuel to the speculation is Trump’s slim-but-surprising upset victory last year in Michigan. Republicans are hoping it’s the start of a reversal of fortune in a state that typically sends Democrats to the Senate.\u003c/p>\n\u003cp>Stabenow, who was first elected to the Senate in 2000, is not considered one of the Senate’s most endangered Democrats in 2018. In a tweet, Stabenow, who plays guitar, gently poked fun at Kid Rock’s statements and vowed to “keep doing what I do best: fighting for Michigan.”\u003c/p>\n\u003cp>Her campaign tried to capitalize on the spectacle by blasting out a fundraising e-mail.\u003c/p>\n\u003cp>The subject line is: “Kid Rock… for Senate?”\u003c/p>\n\u003cp>“We don’t know if this is for real or just a publicity stunt. But after Donald Trump’s surprising win last year, we need to act fast.” It then asks for a $5 online donation.\u003c/p>\n\u003cp>Stu Sandler, a Republican campaign consultant in Michigan, says it’s not clear what Kid Rock’s intentions are, but it’s created a buzz about the upcoming campaign.\u003c/p>\n\u003cp>“I really don’t know, but it’s kind of a fun ride. He seems to be pretty emphatic by his own language, and he’s added some excitement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The bottom line is he’s not like any traditional candidate so he can do things other people can’t.” \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=Kid+Rock+Claims+Michigan+Senate+Bid+Is+%27Not+A+Hoax%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kid Rock, the singer whose career has spanned rap, hard rock and country music, is fueling the speculation that he intends to announce a bid for the U.S. Senate next year to challenge incumbent Democrat Debbie Stabenow. That is unless it’s all a publicity stunt.\u003c/p>\n\u003cp>In a post on his personal website Thursday evening, \u003ca href=\"https://kidrock.com/blog/announcement/447744/once-again-the-press-is-wrong\" target=\"_blank\" rel=\"noopener\">the 46-year-old singer wrote\u003c/a>, “Like politicians write books during their campaigns, I’m planning on putting out music during mine and IT ALL STARTS TONIGHT AT MIDNIGHT.”\u003c/p>\n\u003cp>The post continued, “Senator Stabenow and I do share a love of music, although probably not the same kind. I concede she is better at playing politics than I am so I’ll keep doing what I do best, which is being a voice for tax paying, hardworking AMERICANS…”\u003c/p>\n\u003cp>Earlier this week, Kid Rock, whose legal name is Robert James Ritchie, tweeted a picture of a “Kid Rock for US Senate” sign along with what appears to be a campaign website.\u003c/p>\n\u003cp>But after a teasing a big announcement in his Thursday post, Kid Rock announced he’s releasing two new songs on Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So far, Ritchie has not filed a statement of candidacy with the Federal Election Commission. The Kid Rock for Senate website sells campaign-themed merchandise but directs to a Warner Bros. record label website to complete transactions. That site does not ask the questions campaign websites must ask, such as whether the donor is an American citizen. The FEC says candidates must register \u003ca href=\"https://www.fec.gov/updates/testing-the-waters-2017/\" target=\"_blank\" rel=\"noopener\">if they raise or spend more than $5,000\u003c/a>.\u003c/p>\n\u003cp>In recent years, Kid Rock has become increasingly identified with conservative politics. Mitt Romney’s 2012 presidential campaign used his song, “Born Free” as its campaign theme song. Earlier this year, he attended \u003ca href=\"https://www.sarahpalin.com/behind-scenes-photos-awesome-evening-white-house/\" target=\"_blank\" rel=\"noopener\">a dinner at the White House\u003c/a> with President Trump and former Alaska Gov. Sarah Palin.\u003c/p>\n\u003cp>While Kid Rock’s hard living rock-and-roll lifestyle, which includes a sex tape and assault charges, would traditionally be considered a liability for a political candidate, the success of President Trump’s campaign last year may encourage more unconventional candidates to run for office.\u003c/p>\n\u003cp>And a lot of what’s adding fuel to the speculation is Trump’s slim-but-surprising upset victory last year in Michigan. Republicans are hoping it’s the start of a reversal of fortune in a state that typically sends Democrats to the Senate.\u003c/p>\n\u003cp>Stabenow, who was first elected to the Senate in 2000, is not considered one of the Senate’s most endangered Democrats in 2018. In a tweet, Stabenow, who plays guitar, gently poked fun at Kid Rock’s statements and vowed to “keep doing what I do best: fighting for Michigan.”\u003c/p>\n\u003cp>Her campaign tried to capitalize on the spectacle by blasting out a fundraising e-mail.\u003c/p>\n\u003cp>The subject line is: “Kid Rock… for Senate?”\u003c/p>\n\u003cp>“We don’t know if this is for real or just a publicity stunt. But after Donald Trump’s surprising win last year, we need to act fast.” It then asks for a $5 online donation.\u003c/p>\n\u003cp>Stu Sandler, a Republican campaign consultant in Michigan, says it’s not clear what Kid Rock’s intentions are, but it’s created a buzz about the upcoming campaign.\u003c/p>\n\u003cp>“I really don’t know, but it’s kind of a fun ride. He seems to be pretty emphatic by his own language, and he’s added some excitement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The bottom line is he’s not like any traditional candidate so he can do things other people can’t.” \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=Kid+Rock+Claims+Michigan+Senate+Bid+Is+%27Not+A+Hoax%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Cassette tape resurgence” — it’s a phrase whose very utterance seems to beg several questions: How? Why? And for whom?\u003c/p>\n\u003cp>The subject of numerous thinkpieces, hullabaloo, and general derision, the \u003ca href=\"https://www.fastcompany.com/3067073/musics-weird-cassette-tape-revival-is-paying-off\" target=\"_blank\" rel=\"noopener\">return of the cassette tape\u003c/a> seems, at first glance, to be little more than \u003ca href=\"https://1.bp.blogspot.com/-UIIOE03bff0/WLU3M0XwB2I/AAAAAAAAUtE/KlYL-JkjI-gCzxeDJnUHequMq2xLg9FJQCLcB/s1600/Grandmer.png\" target=\"_blank\" rel=\"noopener\">a bad joke about hipsters made manifest\u003c/a> in corporeal form. For those old enough to remember when cassette tapes were the de facto standard, there doesn’t seem much to celebrate about their return: cueing a particular track involves a good deal of guesswork and repeated mashing of rewind and fast-forward; their artwork (or “J-card,” in the vernacular of the cassette otaku) is small and mostly insignificant; and worst of all, every cassette tape player seems prone to occasional bouts of cannibalism, eating the very tapes they were designed to play, enacting a vicious blood price for the mere enjoyment of music. \u003c/p>\n\u003cfigure id=\"attachment_13649344\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/GN.gif\" alt=\"Jacober's 'The Grey Man,' released on cassette-heavy label Geographic North.\" width=\"500\" height=\"766\" class=\"size-full wp-image-13649344\">\u003cfigcaption class=\"wp-caption-text\">Jacober’s ‘The Grey Man,’ released on cassette-heavy label Geographic North. \u003ccite>(Geographic North)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, after nearly a decade into their return, they don’t seem to be going anywhere. Why, you ask? The answer was succinctly stated by our dynastic philandering former president William Jefferson Clinton a full quarter-century ago: “It’s the econom[ics,] stupid.”\u003c/p>\n\u003cp>Simply put, cassettes are a boon to artists, offering a cheap and easy way to release music on a physical medium for an increasingly tight-fisted audience. Some facts and figures, courtesy the Nielsen Music Mid-Year Report for 2017: \u003c/p>\n\u003cul>\n\u003cli>Total audio consumption, which Nielsen defines as individual album sales plus TEA, or “track equivalent album” (10 song sales = 1 album sale) and SEA, or “streaming equivalent album” (1,500 streams = 1 album sale) is at 235.5 million units, a +8.9% change over 2016. \u003c/li>\n\u003cli>Streaming — that is to say, music consumption which listeners generally do not pay for — is growing at an enormous rate. On-demand audio streams are clocked at 184.3 billion units, a +62.4% change over 2016. Taking both audio and video streams into account, total on-demand streaming is clocked at 284.7 billion units, a +36.4% change over 2016.\u003c/li>\n\u003cli>Meanwhile, album sales are dropping precipitously. Album and TEA sales were clocked at 112.6 million units, a -19.9% change from 2016. Digital album sales clocked at 35.1 million units, also a -19.9% change from 2016; physical album sales clocked at 46.9 million units, a -17.0% change.\u003c/li>\n\u003c/ul>\n\u003cp>To wit: More music is produced, released, and consumed than ever before in history, but fewer and fewer people want to pay for it. And while a new record on vinyl commonly costs between $20–$30 these days, cassettes are still often around the $10-or-under range.\u003c/p>\n\u003cfigure id=\"attachment_13649701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Neilsen-800x328.jpg\" alt=\"With free streaming on a perpetual rise, listeners are less inclined to pay $20 for an album.\" width=\"800\" height=\"328\" class=\"size-medium wp-image-13649701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-240x98.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-375x154.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-520x213.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With free streaming on a perpetual rise, listeners are less inclined to pay $20 for an album. \u003ccite>(via Nielsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, I conducted an interview with German electronic musician Uwe Schmidt, best known as Atom Heart or Atom™. Active since the late ’80s, he has released hundreds of records across three decades, and summed up the present-day conundrum: “Today, you either go full commercial or full underground — there’s not really anything in between. In the ’90s and most of the ’00s, until 2008 or so, there was still a middle ground. You could make underground music on an underground label and still sell 5,000 copies, doing something really weird. That doesn’t happen anymore. In the ’90s, it was much easier to to make music and make a living.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Producing vinyl records isn’t cheap. Pressing 500 black vinyl records in four-color shrinkwrapped sleeves at Southern California’s Erika Records (to pick a random example) will cost in the neighborhood of $2,300 shipped to your door, or $4.60 per unit. (This number could swing up or down based on a number of factors, of course.)\u003c/p>\n\u003cp>At U.S. cassette duplicator Cryptic Carousel (another random example), producing 500 tapes with J-cards and cases is roughly $1,275 shipped, or $2.55 per unit — nearly half the cost. \u003c/p>\n\u003cfigure id=\"attachment_13649345\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Maxell.jpg\" alt=\"Low duplication costs for cassettes make the medium attractive for small runs.\" width=\"480\" height=\"312\" class=\"size-full wp-image-13649345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-375x244.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Low duplication costs for cassettes make the medium attractive for small runs. \u003ccite>(Cryptic Carousel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, because pressing vinyl involves a good deal of up-front, preparatory labor before a single record can be pressed, most pressing plants require a minimum order of 500 units, either ignoring smaller orders altogether or assigning them a surcharge, making smaller runs even less cost-effective. Tape duplicators have no such surcharge, making them well-suited to runs of 100 or 200 units — perfect for unconventional, unusual music. And then, of course, there’s the \u003ca href=\"http://flavorwire.com/514623/what-most-music-fans-dont-realize-about-record-store-day\" target=\"_blank\" rel=\"noopener\">long wait time from overburdened record pressing plants\u003c/a>.\u003c/p>\n\u003cp>For Atlanta-based record label Geographic North, who release left-field music of all kinds, tapes provide flexibility to promote untested artists. “Initially, we were drawn to tapes as a cost-effective way to experiment in a format other than vinyl,” says Bobby Power, one of the label’s co-founders. “Tapes let us devote a fraction of the production costs we’d typically need for a vinyl record, which then allowed us to take bigger chances on newer or less well-known artists,” he explains. \u003c/p>\n\u003cp>Notably, for Geographic North (and dozens of labels in similar positions), cassette releases aren’t treated as lesser productions than vinyl releases simply because they are cheaper to produce. “The artists we work with put everything they have into their music, and we want to put that same level of love and attention into the final product, both in terms of audio quality and packaging,” says Power. “We put just as much time into working each and every release, no matter the format.”\u003c/p>\n\u003cfigure id=\"attachment_13649420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jacktone-800x499.jpg\" alt=\"Liquid Asset's 'Inviolate Light Being,' released on Jacktone Records.\" width=\"800\" height=\"499\" class=\"size-medium wp-image-13649420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-520x324.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liquid Asset’s ‘Inviolate Light Being,’ released on Jacktone Records. \u003ccite>(Jacktone Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For bicoastal Detroit-Berlin label Jacktone, which primarily releases tapes and focuses on emerging artists, vinyl is a risky proposition. “If you’re a small label trying to provide a platform for new artists with each release, releasing on vinyl is a hurdle, and you most likely won’t recoup the costs that go into producing the record,” say label proprietors Melissa Maristuen and Darren Cutlip. “In many cases, tape releases pay for themselves — the return on investment is much higher with tapes than with vinyl.” \u003c/p>\n\u003cp>In the final analysis, tapes simply offer a listening experience that vinyl doesn’t (and can’t) match — not “better” or “worse,” but noticeably different. “Because the turnaround time on tapes is so much faster than vinyl, you’re hearing an artist’s current vision — what their sound is like right now,” according to Maristuen and Cutlip. For Bobby Power, “tapes are endlessly fascinating: the portability and durability, the small but scrappy format. They fit in your pocket and can hold 90 minutes of music. And as a consumer, you can drop $5 or $6 on a tape at a show or direct from a label, instead of $15, $20, or $25 for an LP. It’s a great way for music to get in the hands of more people.” \u003c/p>\n\u003cp>With accessibility like that, don’t expect listeners to hit “pause” on cassettes anytime soon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Chris Zaldua is a writer and DJ living in San Francisco. \u003ca href=\"mailto:czaldua@gmail.com\" target=\"_blank\" rel=\"noopener\">Email him here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Cassette tape resurgence” — it’s a phrase whose very utterance seems to beg several questions: How? Why? And for whom?\u003c/p>\n\u003cp>The subject of numerous thinkpieces, hullabaloo, and general derision, the \u003ca href=\"https://www.fastcompany.com/3067073/musics-weird-cassette-tape-revival-is-paying-off\" target=\"_blank\" rel=\"noopener\">return of the cassette tape\u003c/a> seems, at first glance, to be little more than \u003ca href=\"https://1.bp.blogspot.com/-UIIOE03bff0/WLU3M0XwB2I/AAAAAAAAUtE/KlYL-JkjI-gCzxeDJnUHequMq2xLg9FJQCLcB/s1600/Grandmer.png\" target=\"_blank\" rel=\"noopener\">a bad joke about hipsters made manifest\u003c/a> in corporeal form. For those old enough to remember when cassette tapes were the de facto standard, there doesn’t seem much to celebrate about their return: cueing a particular track involves a good deal of guesswork and repeated mashing of rewind and fast-forward; their artwork (or “J-card,” in the vernacular of the cassette otaku) is small and mostly insignificant; and worst of all, every cassette tape player seems prone to occasional bouts of cannibalism, eating the very tapes they were designed to play, enacting a vicious blood price for the mere enjoyment of music. \u003c/p>\n\u003cfigure id=\"attachment_13649344\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/GN.gif\" alt=\"Jacober's 'The Grey Man,' released on cassette-heavy label Geographic North.\" width=\"500\" height=\"766\" class=\"size-full wp-image-13649344\">\u003cfigcaption class=\"wp-caption-text\">Jacober’s ‘The Grey Man,’ released on cassette-heavy label Geographic North. \u003ccite>(Geographic North)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless, after nearly a decade into their return, they don’t seem to be going anywhere. Why, you ask? The answer was succinctly stated by our dynastic philandering former president William Jefferson Clinton a full quarter-century ago: “It’s the econom[ics,] stupid.”\u003c/p>\n\u003cp>Simply put, cassettes are a boon to artists, offering a cheap and easy way to release music on a physical medium for an increasingly tight-fisted audience. Some facts and figures, courtesy the Nielsen Music Mid-Year Report for 2017: \u003c/p>\n\u003cul>\n\u003cli>Total audio consumption, which Nielsen defines as individual album sales plus TEA, or “track equivalent album” (10 song sales = 1 album sale) and SEA, or “streaming equivalent album” (1,500 streams = 1 album sale) is at 235.5 million units, a +8.9% change over 2016. \u003c/li>\n\u003cli>Streaming — that is to say, music consumption which listeners generally do not pay for — is growing at an enormous rate. On-demand audio streams are clocked at 184.3 billion units, a +62.4% change over 2016. Taking both audio and video streams into account, total on-demand streaming is clocked at 284.7 billion units, a +36.4% change over 2016.\u003c/li>\n\u003cli>Meanwhile, album sales are dropping precipitously. Album and TEA sales were clocked at 112.6 million units, a -19.9% change from 2016. Digital album sales clocked at 35.1 million units, also a -19.9% change from 2016; physical album sales clocked at 46.9 million units, a -17.0% change.\u003c/li>\n\u003c/ul>\n\u003cp>To wit: More music is produced, released, and consumed than ever before in history, but fewer and fewer people want to pay for it. And while a new record on vinyl commonly costs between $20–$30 these days, cassettes are still often around the $10-or-under range.\u003c/p>\n\u003cfigure id=\"attachment_13649701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Neilsen-800x328.jpg\" alt=\"With free streaming on a perpetual rise, listeners are less inclined to pay $20 for an album.\" width=\"800\" height=\"328\" class=\"size-medium wp-image-13649701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-240x98.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-375x154.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen-520x213.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Neilsen.jpg 858w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With free streaming on a perpetual rise, listeners are less inclined to pay $20 for an album. \u003ccite>(via Nielsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years ago, I conducted an interview with German electronic musician Uwe Schmidt, best known as Atom Heart or Atom™. Active since the late ’80s, he has released hundreds of records across three decades, and summed up the present-day conundrum: “Today, you either go full commercial or full underground — there’s not really anything in between. In the ’90s and most of the ’00s, until 2008 or so, there was still a middle ground. You could make underground music on an underground label and still sell 5,000 copies, doing something really weird. That doesn’t happen anymore. In the ’90s, it was much easier to to make music and make a living.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Producing vinyl records isn’t cheap. Pressing 500 black vinyl records in four-color shrinkwrapped sleeves at Southern California’s Erika Records (to pick a random example) will cost in the neighborhood of $2,300 shipped to your door, or $4.60 per unit. (This number could swing up or down based on a number of factors, of course.)\u003c/p>\n\u003cp>At U.S. cassette duplicator Cryptic Carousel (another random example), producing 500 tapes with J-cards and cases is roughly $1,275 shipped, or $2.55 per unit — nearly half the cost. \u003c/p>\n\u003cfigure id=\"attachment_13649345\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Maxell.jpg\" alt=\"Low duplication costs for cassettes make the medium attractive for small runs.\" width=\"480\" height=\"312\" class=\"size-full wp-image-13649345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Maxell-375x244.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Low duplication costs for cassettes make the medium attractive for small runs. \u003ccite>(Cryptic Carousel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additionally, because pressing vinyl involves a good deal of up-front, preparatory labor before a single record can be pressed, most pressing plants require a minimum order of 500 units, either ignoring smaller orders altogether or assigning them a surcharge, making smaller runs even less cost-effective. Tape duplicators have no such surcharge, making them well-suited to runs of 100 or 200 units — perfect for unconventional, unusual music. And then, of course, there’s the \u003ca href=\"http://flavorwire.com/514623/what-most-music-fans-dont-realize-about-record-store-day\" target=\"_blank\" rel=\"noopener\">long wait time from overburdened record pressing plants\u003c/a>.\u003c/p>\n\u003cp>For Atlanta-based record label Geographic North, who release left-field music of all kinds, tapes provide flexibility to promote untested artists. “Initially, we were drawn to tapes as a cost-effective way to experiment in a format other than vinyl,” says Bobby Power, one of the label’s co-founders. “Tapes let us devote a fraction of the production costs we’d typically need for a vinyl record, which then allowed us to take bigger chances on newer or less well-known artists,” he explains. \u003c/p>\n\u003cp>Notably, for Geographic North (and dozens of labels in similar positions), cassette releases aren’t treated as lesser productions than vinyl releases simply because they are cheaper to produce. “The artists we work with put everything they have into their music, and we want to put that same level of love and attention into the final product, both in terms of audio quality and packaging,” says Power. “We put just as much time into working each and every release, no matter the format.”\u003c/p>\n\u003cfigure id=\"attachment_13649420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Jacktone-800x499.jpg\" alt=\"Liquid Asset's 'Inviolate Light Being,' released on Jacktone Records.\" width=\"800\" height=\"499\" class=\"size-medium wp-image-13649420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-960x599.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone-520x324.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Jacktone.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liquid Asset’s ‘Inviolate Light Being,’ released on Jacktone Records. \u003ccite>(Jacktone Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For bicoastal Detroit-Berlin label Jacktone, which primarily releases tapes and focuses on emerging artists, vinyl is a risky proposition. “If you’re a small label trying to provide a platform for new artists with each release, releasing on vinyl is a hurdle, and you most likely won’t recoup the costs that go into producing the record,” say label proprietors Melissa Maristuen and Darren Cutlip. “In many cases, tape releases pay for themselves — the return on investment is much higher with tapes than with vinyl.” \u003c/p>\n\u003cp>In the final analysis, tapes simply offer a listening experience that vinyl doesn’t (and can’t) match — not “better” or “worse,” but noticeably different. “Because the turnaround time on tapes is so much faster than vinyl, you’re hearing an artist’s current vision — what their sound is like right now,” according to Maristuen and Cutlip. For Bobby Power, “tapes are endlessly fascinating: the portability and durability, the small but scrappy format. They fit in your pocket and can hold 90 minutes of music. And as a consumer, you can drop $5 or $6 on a tape at a show or direct from a label, instead of $15, $20, or $25 for an LP. It’s a great way for music to get in the hands of more people.” \u003c/p>\n\u003cp>With accessibility like that, don’t expect listeners to hit “pause” on cassettes anytime soon.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Chris Zaldua is a writer and DJ living in San Francisco. \u003ca href=\"mailto:czaldua@gmail.com\" target=\"_blank\" rel=\"noopener\">Email him here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-jamedras-picks-a-neo-soul-innovator-a-melodrama-on-race-and-a-showcase-for-womens-audio",
"title": "Cy and Jamedra's Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women's Audio",
"publishDate": 1499904002,
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"headTitle": "Cy and Jamedra’s Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women’s Audio | KQED",
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"content": "\u003cp>The days are long, perfect for lounging at the park. But when dusk turns to nighttime, The Do List wants you to find the perfect show. My co-host this week is Jamedra Brown Fleischman, former social media specialist for KQED Arts, and a co-host of \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler podcast\u003c/a> from KQED Pop. Now here’s our picks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m0DX4FzGvOs\u003c/p>\n\u003cp>\u003cstrong>July 29\u003c/strong>: \u003ca href=\"http://www.meshell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a> can do just about anything musically, including jazz and hip-hop, and the songs are intensely emotional. Jamedra notes she’s credited as the founder of the neo-soul movement, with Erykah Badu, Goapele, Maxwell and others following suit. Ndegeocello has worked recently with director Ava Duvernay on the TV series \u003cem>Queen Sugar\u003c/em> — but for Jamedra, her voice will always conjure up one of her favorite movies,\u003cem> Love and Basketball\u003c/em> (2000), in which \u003ca href=\"https://www.youtube.com/watch?v=1qbzo9DnAqA\" target=\"_blank\" rel=\"noopener noreferrer\">she sings about a love betrayed\u003c/a>. Details for Ndegeocello’s show at Freight & Salvage \u003ca href=\"http://thefreight.org/meshell-ndegeocello\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13646698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13646698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg\" alt=\"A poster for the Asian Art Museum‘s attempt to set a Guinness World Record for the largest human flower\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-160x232.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-768x1116.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1020x1482.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1920x2789.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1180x1714.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-960x1395.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-240x349.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-375x545.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-520x755.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for the Asian Art Museum’s attempt to set a Guinness World Record for the largest human flower. \u003ccite>(Photo: Courtesy of Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 15: \u003c/strong>\u003cspan style=\"font-weight: 400\">Here’s a chance to win a prize, make history, and celebrate the lotus, a flower that expresses Buddhist and Hindu ideals of purity and beauty. Following the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener noreferrer\">trend\u003c/a> of \u003ca href=\"https://ww2.kqed.org/arts/2017/07/07/frida-kahlo-celebrated-with-an-attempt-at-a-world-record/\" target=\"_blank\" rel=\"noopener noreferrer\">unusual\u003c/a> world-record \u003ca href=\"https://ww2.kqed.org/arts/2015/07/02/oakland-comes-together-to-break-record-for-longest-soul-train/\" target=\"_blank\" rel=\"noopener noreferrer\">attempts\u003c/a> in the Bay Area, the Asian Art Museum is hoping to set a \u003c/span>\u003cspan style=\"font-weight: 400\">Guinness World Record for the largest human flower as part of its \u003ca href=\"http://www.asianart.org/exhibitions/flower-power\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Power exhibit\u003c/a>, timed for citywide commemoration of the 50th anniversary of the Summer of Love. Already, \u003ca href=\"https://www.eventbrite.com/e/lotus-live-earn-the-guinness-world-recordstm-title-for-largest-human-flower-tickets-35088099450?aff=ehomecard\" target=\"_blank\" rel=\"noopener noreferrer\">2,500 people have signed up\u003c/a>, and the museum is hoping for 3,000 or more. \u003c/span>\u003cspan style=\"font-weight: 400\">The current Guinness record for largest human flower featured 2,297 people at the Rochester Lilac Festival in 2014. And to help pad the numbers for this attempt? Jamedra’s bringing her kids.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8fGcf3GODKE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 14 & 23\u003c/strong>: Seun Kuti is very much like his father, the late Nigerian political activist and musician Fela Kuti. He leads his father’s former band, Egypt 80, and sings of protest and the fight against oppression from banks and politicians of the left and right in Africa — and in Flint, Michigan (check the anti-IMF video above). Seun preaches the lyrics over irresistible Afrobeat rhythms. Raise your fist, dance your butt off. Details for his show Friday at the California WorldFest in Grass Valley are \u003ca href=\"http://worldfest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And he plays the New Parish in Oakland on Sunday, July 23; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7373525&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 23-July 29: \u003c/strong>\u003cem>An Octoroon\u003c/em> is the most fascinating and confrontational play I’ve seen this year. This West Coast premiere from \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.newyorker.com/magazine/2017/03/06/branden-jacobs-jenkins-from-the-heart\" target=\"_blank\" rel=\"noopener noreferrer\">Branden Jacobs-Jenkins\u003c/a> opens with actor Lance Gardner speaking: “\u003c/span>Hi everyone. I’m a black playwright. I don’t know exactly what that means. But I’m here to tell you a story.” And then Gardner puts on whiteface, as another actor dons redface to play an American Indian. There’s blackface too, so, as Jamedra says, if you’re not offended in some way, you’re not paying attention. Much of the play is Jacobs-Jenkins deconstruction of a 19th Century melodrama by \u003ca href=\"http://www.theatrehistory.com/irish/boucicault001.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dion Boucicault\u003c/a> about the fate of a Southern plantation. But there’s also running commentary on what it’s like to be an African American on the American stage. Br’er Rabbit gets a part too, and just when you think it’s okay to laugh at the racist attitudes of characters from 160 years ago, Jacobs-Jenkins slaps you with an image or line forcing you to recognize how things haven’t changed very much at all. Check out our critic John Wilkins’ review \u003ca href=\"https://ww2.kqed.org/arts/2017/07/12/an-octoroon-wallows-in-americas-racial-quagmire/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Details for \u003cem>An Octoroon\u003c/em> at Berkeley Rep are \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pobZr1XYxos\u003c/p>\n\u003cp>\u003cstrong>July 26\u003c/strong>: Oakland’s \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener noreferrer\">Star Ahmerasu\u003c/a>, a queer black trans woman who wears her heart and soul on her sleeve; Oakland’s Siri, “the trippy princess”; and soul singer \u003ca href=\"https://soundcloud.com/simmisings\" target=\"_blank\" rel=\"noopener noreferrer\">Simmi\u003c/a>, and DJ Arumi — they’re all “local sirens,” new faces on the Bay Area music scene. They also comprise the lineup for a quarterly showcase staged by Women’s Audio Mission, whose goal is to get more women involved in the music industry, which is more male-dominated than Hollywood (and that’s saying something). Details for this free Women’s Audio Mission show at Pianofight in San Francisco are \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-siri-ahf-mer-ah-su-simmi-arumi-tickets-33949814810?aff=es2\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>Thanks so much to Jamedra Brown Fleischman for co-hosting the show this week\u003c/p>\n\u003cfigure id=\"attachment_13653849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13653849 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg\" alt=\"Jamedra Brown Fleischman and Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamedra Brown Fleischman and Cy Musiker \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Cy and Jamedra share the coolest shows in the Bay Area, including a compelling play at Berkeley Rep, a world-record attempt, a neo-soul pioneer and more.",
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"title": "Cy and Jamedra's Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women's Audio | KQED",
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"headline": "Cy and Jamedra's Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women's Audio",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days are long, perfect for lounging at the park. But when dusk turns to nighttime, The Do List wants you to find the perfect show. My co-host this week is Jamedra Brown Fleischman, former social media specialist for KQED Arts, and a co-host of \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler podcast\u003c/a> from KQED Pop. Now here’s our picks.\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/m0DX4FzGvOs'\n title='//www.youtube.com/embed/m0DX4FzGvOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 29\u003c/strong>: \u003ca href=\"http://www.meshell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a> can do just about anything musically, including jazz and hip-hop, and the songs are intensely emotional. Jamedra notes she’s credited as the founder of the neo-soul movement, with Erykah Badu, Goapele, Maxwell and others following suit. Ndegeocello has worked recently with director Ava Duvernay on the TV series \u003cem>Queen Sugar\u003c/em> — but for Jamedra, her voice will always conjure up one of her favorite movies,\u003cem> Love and Basketball\u003c/em> (2000), in which \u003ca href=\"https://www.youtube.com/watch?v=1qbzo9DnAqA\" target=\"_blank\" rel=\"noopener noreferrer\">she sings about a love betrayed\u003c/a>. Details for Ndegeocello’s show at Freight & Salvage \u003ca href=\"http://thefreight.org/meshell-ndegeocello\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13646698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13646698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg\" alt=\"A poster for the Asian Art Museum‘s attempt to set a Guinness World Record for the largest human flower\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-160x232.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-768x1116.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1020x1482.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1920x2789.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1180x1714.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-960x1395.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-240x349.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-375x545.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-520x755.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for the Asian Art Museum’s attempt to set a Guinness World Record for the largest human flower. \u003ccite>(Photo: Courtesy of Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 15: \u003c/strong>\u003cspan style=\"font-weight: 400\">Here’s a chance to win a prize, make history, and celebrate the lotus, a flower that expresses Buddhist and Hindu ideals of purity and beauty. Following the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener noreferrer\">trend\u003c/a> of \u003ca href=\"https://ww2.kqed.org/arts/2017/07/07/frida-kahlo-celebrated-with-an-attempt-at-a-world-record/\" target=\"_blank\" rel=\"noopener noreferrer\">unusual\u003c/a> world-record \u003ca href=\"https://ww2.kqed.org/arts/2015/07/02/oakland-comes-together-to-break-record-for-longest-soul-train/\" target=\"_blank\" rel=\"noopener noreferrer\">attempts\u003c/a> in the Bay Area, the Asian Art Museum is hoping to set a \u003c/span>\u003cspan style=\"font-weight: 400\">Guinness World Record for the largest human flower as part of its \u003ca href=\"http://www.asianart.org/exhibitions/flower-power\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Power exhibit\u003c/a>, timed for citywide commemoration of the 50th anniversary of the Summer of Love. Already, \u003ca href=\"https://www.eventbrite.com/e/lotus-live-earn-the-guinness-world-recordstm-title-for-largest-human-flower-tickets-35088099450?aff=ehomecard\" target=\"_blank\" rel=\"noopener noreferrer\">2,500 people have signed up\u003c/a>, and the museum is hoping for 3,000 or more. \u003c/span>\u003cspan style=\"font-weight: 400\">The current Guinness record for largest human flower featured 2,297 people at the Rochester Lilac Festival in 2014. And to help pad the numbers for this attempt? Jamedra’s bringing her kids.\u003c/span>\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/8fGcf3GODKE'\n title='//www.youtube.com/embed/8fGcf3GODKE'\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>\u003cstrong>July 14 & 23\u003c/strong>: Seun Kuti is very much like his father, the late Nigerian political activist and musician Fela Kuti. He leads his father’s former band, Egypt 80, and sings of protest and the fight against oppression from banks and politicians of the left and right in Africa — and in Flint, Michigan (check the anti-IMF video above). Seun preaches the lyrics over irresistible Afrobeat rhythms. Raise your fist, dance your butt off. Details for his show Friday at the California WorldFest in Grass Valley are \u003ca href=\"http://worldfest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And he plays the New Parish in Oakland on Sunday, July 23; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7373525&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 23-July 29: \u003c/strong>\u003cem>An Octoroon\u003c/em> is the most fascinating and confrontational play I’ve seen this year. This West Coast premiere from \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.newyorker.com/magazine/2017/03/06/branden-jacobs-jenkins-from-the-heart\" target=\"_blank\" rel=\"noopener noreferrer\">Branden Jacobs-Jenkins\u003c/a> opens with actor Lance Gardner speaking: “\u003c/span>Hi everyone. I’m a black playwright. I don’t know exactly what that means. But I’m here to tell you a story.” And then Gardner puts on whiteface, as another actor dons redface to play an American Indian. There’s blackface too, so, as Jamedra says, if you’re not offended in some way, you’re not paying attention. Much of the play is Jacobs-Jenkins deconstruction of a 19th Century melodrama by \u003ca href=\"http://www.theatrehistory.com/irish/boucicault001.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dion Boucicault\u003c/a> about the fate of a Southern plantation. But there’s also running commentary on what it’s like to be an African American on the American stage. Br’er Rabbit gets a part too, and just when you think it’s okay to laugh at the racist attitudes of characters from 160 years ago, Jacobs-Jenkins slaps you with an image or line forcing you to recognize how things haven’t changed very much at all. Check out our critic John Wilkins’ review \u003ca href=\"https://ww2.kqed.org/arts/2017/07/12/an-octoroon-wallows-in-americas-racial-quagmire/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Details for \u003cem>An Octoroon\u003c/em> at Berkeley Rep are \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pobZr1XYxos'\n title='//www.youtube.com/embed/pobZr1XYxos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 26\u003c/strong>: Oakland’s \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener noreferrer\">Star Ahmerasu\u003c/a>, a queer black trans woman who wears her heart and soul on her sleeve; Oakland’s Siri, “the trippy princess”; and soul singer \u003ca href=\"https://soundcloud.com/simmisings\" target=\"_blank\" rel=\"noopener noreferrer\">Simmi\u003c/a>, and DJ Arumi — they’re all “local sirens,” new faces on the Bay Area music scene. They also comprise the lineup for a quarterly showcase staged by Women’s Audio Mission, whose goal is to get more women involved in the music industry, which is more male-dominated than Hollywood (and that’s saying something). Details for this free Women’s Audio Mission show at Pianofight in San Francisco are \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-siri-ahf-mer-ah-su-simmi-arumi-tickets-33949814810?aff=es2\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>Thanks so much to Jamedra Brown Fleischman for co-hosting the show this week\u003c/p>\n\u003cfigure id=\"attachment_13653849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13653849 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg\" alt=\"Jamedra Brown Fleischman and Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamedra Brown Fleischman and Cy Musiker \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Graceland' Guitarist and Arranger Ray Phiri Dies, Age 70",
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"content": "\u003cp>One of South Africa’s top musicians — and an artist whose sound was known the world over, thanks to Paul Simon’s album \u003cem>Graceland\u003c/em> — has died. Guitarist, vocalist and composer Ray Chikapa Phiri was 70 years old. He had been battling lung cancer, and died early this morning in a hospital in the northeastern city of Nelspruit. His death was \u003ca href=\"http://www.bbc.com/news/world-africa-40580246\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> by a family spokesperson, Paul Nkanyane.\u003c/p>\n\u003cp>Internationally, Phiri was known primarily for his contributions to Paul Simon’s \u003cem>Graceland\u003c/em> album and ensuing tours; it was his guitar and arrangements that helped define the distinctly South African sound of the project.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OtT7Og2LBbE\u003c/p>\n\u003cp>But at home, Phiri was also celebrated as the co-founder of the influential group Stimela, a popular fusion band that melded smooth jazz with \u003cem>\u003ca href=\"http://www.afropop.org/6406/the-zulu-factor/\" target=\"_blank\" rel=\"noopener\">mbaqanga\u003c/a>\u003c/em>: an energetic, rhythm-heavy genre that itself \u003ca href=\"https://grovemusic.github.io/Entries/S51740.htm\" target=\"_blank\" rel=\"noopener\">married\u003c/a> local styles with jazz.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nmn3tOL2FuE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although \u003cem>Graceland\u003c/em> became famous around the world, it was an endeavor that came under heavy criticism at the time of its release, both in South Africa and internationally. Recorded in 1985 and released the following year, \u003cem>Graceland\u003c/em> was put together amidst the \u003ca href=\"https://www.theguardian.com/music/2012/apr/19/paul-simon-graceland-acclaim-outrage\" target=\"_blank\" rel=\"noopener\">UN-approved boycotts\u003c/a> of the apartheid state, a position which had also been endorsed by Artists United Against Apartheid, an influential group founded by guitarist Steven van Zandt and whose ranks included the likes of Bob Dylan, Peter Gabriel, Bruce Springsteen and George Clinton. (Its members recorded the anti-apartheid song \u003ca href=\"https://www.youtube.com/watch?v=TlMdYpnVOGQ\">“Sun City.”\u003c/a>) The recording project was also not sanctioned by the African National Congress (ANC).\u003c/p>\n\u003cp>But Phiri had a different perspective. In a 2012 documentary about the making of Graceland titled \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=jw6eTs8mw70\" target=\"_blank\" rel=\"noopener\">Under African Skies\u003c/a>\u003c/em>, Phiri explained his decision to participate in the collaboration.\u003c/p>\n\u003cp>“Here I was, living in South Africa,” Phiri said, “and then here comes a particular individual called Paul Simon. For me, music is the closest thing to religion. And if it’s utilized in the right way, it can inform and bring people closer, and they can find solutions to their problems. And \u003cem>Graceland \u003c/em>did that.”\u003c/p>\n\u003cp>The ANC, which is now South Africa’s ruling political party, released a statement today emphasizing not just Phiri’s talent, but his contributions to South Africa’s music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Ray Phiri was a voice for the voiceless and a legend of our time. An immensely gifted composer, vocalist and guitarist, he breathed consciousness and agitated thoughts of freedom through his music … He has played his role in unearthing and support new talent in the industry and has been an ardent and vocal advocate of the call for greater investment in local content development and the development of the industry as a whole.”\u003c/p>\n\u003c/blockquote>\n\u003cp>One of Stimela’s most famous songs was the protest track “Whispers In The Deep.” With lyrics like “We’re all tributaries of the great river of pain,” it became an anthemic cry in 1980’s South Africa. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0FFGIw0g-LQ\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=%27Graceland%27+Guitarist+And+Arranger+Ray+Phiri+Dies%2C+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of South Africa’s top musicians — and an artist whose sound was known the world over, thanks to Paul Simon’s album \u003cem>Graceland\u003c/em> — has died. Guitarist, vocalist and composer Ray Chikapa Phiri was 70 years old. He had been battling lung cancer, and died early this morning in a hospital in the northeastern city of Nelspruit. His death was \u003ca href=\"http://www.bbc.com/news/world-africa-40580246\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> by a family spokesperson, Paul Nkanyane.\u003c/p>\n\u003cp>Internationally, Phiri was known primarily for his contributions to Paul Simon’s \u003cem>Graceland\u003c/em> album and ensuing tours; it was his guitar and arrangements that helped define the distinctly South African sound of the project.\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/OtT7Og2LBbE'\n title='//www.youtube.com/embed/OtT7Og2LBbE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But at home, Phiri was also celebrated as the co-founder of the influential group Stimela, a popular fusion band that melded smooth jazz with \u003cem>\u003ca href=\"http://www.afropop.org/6406/the-zulu-factor/\" target=\"_blank\" rel=\"noopener\">mbaqanga\u003c/a>\u003c/em>: an energetic, rhythm-heavy genre that itself \u003ca href=\"https://grovemusic.github.io/Entries/S51740.htm\" target=\"_blank\" rel=\"noopener\">married\u003c/a> local styles with jazz.\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/nmn3tOL2FuE'\n title='//www.youtube.com/embed/nmn3tOL2FuE'\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>Although \u003cem>Graceland\u003c/em> became famous around the world, it was an endeavor that came under heavy criticism at the time of its release, both in South Africa and internationally. Recorded in 1985 and released the following year, \u003cem>Graceland\u003c/em> was put together amidst the \u003ca href=\"https://www.theguardian.com/music/2012/apr/19/paul-simon-graceland-acclaim-outrage\" target=\"_blank\" rel=\"noopener\">UN-approved boycotts\u003c/a> of the apartheid state, a position which had also been endorsed by Artists United Against Apartheid, an influential group founded by guitarist Steven van Zandt and whose ranks included the likes of Bob Dylan, Peter Gabriel, Bruce Springsteen and George Clinton. (Its members recorded the anti-apartheid song \u003ca href=\"https://www.youtube.com/watch?v=TlMdYpnVOGQ\">“Sun City.”\u003c/a>) The recording project was also not sanctioned by the African National Congress (ANC).\u003c/p>\n\u003cp>But Phiri had a different perspective. In a 2012 documentary about the making of Graceland titled \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=jw6eTs8mw70\" target=\"_blank\" rel=\"noopener\">Under African Skies\u003c/a>\u003c/em>, Phiri explained his decision to participate in the collaboration.\u003c/p>\n\u003cp>“Here I was, living in South Africa,” Phiri said, “and then here comes a particular individual called Paul Simon. For me, music is the closest thing to religion. And if it’s utilized in the right way, it can inform and bring people closer, and they can find solutions to their problems. And \u003cem>Graceland \u003c/em>did that.”\u003c/p>\n\u003cp>The ANC, which is now South Africa’s ruling political party, released a statement today emphasizing not just Phiri’s talent, but his contributions to South Africa’s music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Ray Phiri was a voice for the voiceless and a legend of our time. An immensely gifted composer, vocalist and guitarist, he breathed consciousness and agitated thoughts of freedom through his music … He has played his role in unearthing and support new talent in the industry and has been an ardent and vocal advocate of the call for greater investment in local content development and the development of the industry as a whole.”\u003c/p>\n\u003c/blockquote>\n\u003cp>One of Stimela’s most famous songs was the protest track “Whispers In The Deep.” With lyrics like “We’re all tributaries of the great river of pain,” it became an anthemic cry in 1980’s South Africa. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0FFGIw0g-LQ'\n title='//www.youtube.com/embed/0FFGIw0g-LQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Graceland%27+Guitarist+And+Arranger+Ray+Phiri+Dies%2C+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In Defense of Pitbull's Teeny-Tiny Baseball Jersey",
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"content": "\u003cp>On Monday, \u003ca href=\"https://www.instagram.com/pitbull/?hl=en\">Pitbull\u003c/a> performed at Miami Marlins Park for the annual \u003ca href=\"https://en.wikipedia.org/wiki/Home_Run_Derby_(Major_League_Baseball)\">MLB Home Run Derby\u003c/a>, and the internet lost its damn mind over Mr. Worldwide's pairing of extremely tight white pants and a teeny-tiny baseball jersey.\u003c/p>\n\u003cp>Here's some chatter from Twitter:\u003c/p>\n\u003cp>https://twitter.com/BlackSBayless/status/884569134452822017\u003c/p>\n\u003cp>https://twitter.com/ShtBallPlayrsDo/status/884562792283594753\u003c/p>\n\u003cp>https://twitter.com/MLBSponge/status/884563295910469632\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Charlie_Burris/status/884563567776845824\u003c/p>\n\u003cp>https://twitter.com/CorkGaines/status/884559824599625728\u003c/p>\n\u003cp>Do any of these people know who Pitbull is? And what he usually looks like? Because it's this:\u003c/p>\n\u003cfigure id=\"attachment_91286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-91286 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/timbersideview-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-800x440.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-768x423.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-520x286.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview.jpg 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Timber\", YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>And also this:\u003c/p>\n\u003cfigure id=\"attachment_91287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-91287 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-800x452.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-768x434.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-1020x577.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-960x543.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-520x294.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Greenlight\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>And sometimes this (those gloves aren't just for baseball, guys):\u003c/p>\n\u003cfigure id=\"attachment_91288\" class=\"wp-caption aligncenter\" style=\"max-width: 614px\">\u003cimg class=\"wp-image-91288 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM.png\" alt=\"\" width=\"614\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM.png 614w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-160x101.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-240x151.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-375x236.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-520x328.png 520w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003cfigcaption class=\"wp-caption-text\">\"Greenlight\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>But mostly this:\u003c/p>\n\u003cfigure id=\"attachment_91289\" class=\"wp-caption aligncenter\" style=\"max-width: 619px\">\u003cimg class=\"wp-image-91289 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/pitbull-fun-video.jpg\" alt=\"\" width=\"619\" height=\"336\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video.jpg 619w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-375x204.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-520x282.jpg 520w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">\"Fun\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>Pitbull is perpetually in clothes so tight, they look like they might pop off at any moment. That's his \u003cem>thing\u003c/em>. His other thing? White. Dude loves wearing white -- even after Labor Day, like the wild man that he is! With this in mind, Pitbull's MLB outfit actually made ALL OF THE SENSE.\u003c/p>\n\u003cp>You have to wonder whether sports fans would have freaked out like this about, say, \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/59/d3/cc/59d3cce4e42794fa5d1b6d4a2de700d2.jpg\">Ricky Martin\u003c/a>, in the same outfit. Hard to imagine, right? Maybe the issue isn't the tightness of Pitbull's clothes, but rather the hetero of Pitbull's sexuality. (Rumors about his potential gay status have been splashed all over the internet for years -- probably thanks in part to his wardrobe -- despite a string of \u003ca href=\"https://hitberry.com/rapper-pitbull-who-is-his-girlfriend-what-s-his-relation-with-barbara-alba-any-flings-or-not/\">relationships \u003c/a>with women and two children who were, as far as we know, conceived the old fashioned way.)\u003c/p>\n\u003cp>If the ladykiller vibes Pitbull portrays in his videos don't line up with his wardrobe -- at least according to what virile heterosexual men are \"supposed\" to wear -- we should applaud Pitbull as both a fashion rebel and a gender-role challenger. This guy summed it up pretty well:\u003c/p>\n\u003cp>https://twitter.com/cushbomb/status/884567302263406592\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's not easy being sexy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, \u003ca href=\"https://www.instagram.com/pitbull/?hl=en\">Pitbull\u003c/a> performed at Miami Marlins Park for the annual \u003ca href=\"https://en.wikipedia.org/wiki/Home_Run_Derby_(Major_League_Baseball)\">MLB Home Run Derby\u003c/a>, and the internet lost its damn mind over Mr. Worldwide's pairing of extremely tight white pants and a teeny-tiny baseball jersey.\u003c/p>\n\u003cp>Here's some chatter from Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Do any of these people know who Pitbull is? And what he usually looks like? Because it's this:\u003c/p>\n\u003cfigure id=\"attachment_91286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-91286 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/timbersideview-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-800x440.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-160x88.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-768x423.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-240x132.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-375x206.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview-520x286.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/timbersideview.jpg 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Timber\", YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>And also this:\u003c/p>\n\u003cfigure id=\"attachment_91287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-91287 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-800x452.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-768x434.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-1020x577.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-960x543.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579-520x294.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Pitbull-Greenlight-e1471972454584-1024x579.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Greenlight\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>And sometimes this (those gloves aren't just for baseball, guys):\u003c/p>\n\u003cfigure id=\"attachment_91288\" class=\"wp-caption aligncenter\" style=\"max-width: 614px\">\u003cimg class=\"wp-image-91288 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM.png\" alt=\"\" width=\"614\" height=\"387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM.png 614w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-160x101.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-240x151.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-375x236.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-11-at-11.24.02-AM-520x328.png 520w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003cfigcaption class=\"wp-caption-text\">\"Greenlight\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>But mostly this:\u003c/p>\n\u003cfigure id=\"attachment_91289\" class=\"wp-caption aligncenter\" style=\"max-width: 619px\">\u003cimg class=\"wp-image-91289 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/pitbull-fun-video.jpg\" alt=\"\" width=\"619\" height=\"336\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video.jpg 619w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-160x87.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-240x130.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-375x204.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/pitbull-fun-video-520x282.jpg 520w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">\"Fun\"/ YouTube\u003c/figcaption>\u003c/figure>\n\u003cp>Pitbull is perpetually in clothes so tight, they look like they might pop off at any moment. That's his \u003cem>thing\u003c/em>. His other thing? White. Dude loves wearing white -- even after Labor Day, like the wild man that he is! With this in mind, Pitbull's MLB outfit actually made ALL OF THE SENSE.\u003c/p>\n\u003cp>You have to wonder whether sports fans would have freaked out like this about, say, \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/59/d3/cc/59d3cce4e42794fa5d1b6d4a2de700d2.jpg\">Ricky Martin\u003c/a>, in the same outfit. Hard to imagine, right? Maybe the issue isn't the tightness of Pitbull's clothes, but rather the hetero of Pitbull's sexuality. (Rumors about his potential gay status have been splashed all over the internet for years -- probably thanks in part to his wardrobe -- despite a string of \u003ca href=\"https://hitberry.com/rapper-pitbull-who-is-his-girlfriend-what-s-his-relation-with-barbara-alba-any-flings-or-not/\">relationships \u003c/a>with women and two children who were, as far as we know, conceived the old fashioned way.)\u003c/p>\n\u003cp>If the ladykiller vibes Pitbull portrays in his videos don't line up with his wardrobe -- at least according to what virile heterosexual men are \"supposed\" to wear -- we should applaud Pitbull as both a fashion rebel and a gender-role challenger. This guy summed it up pretty well:\u003c/p>\u003c/p>\u003c/div>",
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"title": "For Chamber Music in Silicon Valley, Hoodies and Haydn Don't Mix",
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"content": "\u003cp>During a casual conversation several years ago, one of the great musicians of our time once assured me that the future of classical music was nothing to worry about. “There will always be people who want what this is,” he reasoned. “The people who normally want this kind of experience are usually very intense, very demanding, and usually very educated.”\u003c/p>\n\u003cp>I should have asked him if the intense, demanding and educated young professionals of Silicon Valley were an exception to this rule. \u003c/p>\n\u003cp>Classical music has never been more accessible. Streaming apps and sites like YouTube are a trove of newest releases, historical masterclasses, and glorious bootlegged performances of yesteryear. Today’s maestros can be found on Facebook, Instagram and Twitter. Yet the advantages of technology haven’t resulted in widespread interest among younger ages, and nowhere is this more apparent than the region where that technology is developed.\u003c/p>\n\u003cp>Take, for example, Music@Menlo, whose fifteenth season “The Glorious Violin” begins July 14 at the Menlo School in Atherton, a 10-minute drive from Facebook headquarters in Menlo Park. \u003c/p>\n\u003cfigure id=\"attachment_13633791\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Theater.Menlo_.jpg\" alt=\"Martin Family Hall at Menlo School, Home to Music@Menlo.\" width=\"1100\" height=\"733\" class=\"size-full wp-image-13633791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Martin Family Hall at Menlo School, Home to Music@Menlo. \u003ccite>(Joel Simon Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nestled among the makers and movers of Silicon Valley, Music@Menlo is hailed as the Bay Area’s most glamorous chamber music festival. Nearly every concert is packed. It exhibits a healthy communion between musicians and receptive patrons in an area of digitized “connection,” and includes world-class musicians, editors, writers, directors — on a first-name basis with many subscribers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is one thorny issue, though: the young makers and movers of the neighboring tech world aren’t exactly tuning in. \u003c/p>\n\u003cp>According to research company PayScale, the median age of Facebook employees is 29; it’s 30 at Google, and 31 at Apple. Music@Menlo’s last comprehensive study found that only 7 percent of its audience was under the age of 35; 60 percent was accounted for by those 65 and over. \u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘We did a lunchtime performance at the Google campus, but did not see much return in the way of new festival attendees.’ \u003ccite>Edward Sweeney \u003c/cite> \u003c/aside>\n\u003cp>In an area teeming with creativity and highly educated, high-income types, one would think that a festival offering some of the most talented, vibrant young stars in the industry, performing tried-tested-and-true repertoire at a world-class clip, might be of more interest. \u003c/p>\n\u003cp>“Several years ago, we did a lunchtime performance at the Google campus, but did not see much return in the way of new festival attendees,” says Edward Sweeney, Music@Menlo’s Executive Director. “Some of the challenges we have observed include the fact that many Silicon Valley tech workers actually live up in San Francisco. The peninsula does not necessarily have the active nightlife that would be a draw for the 25-35 demographic. There is tremendous competition for entertainment alternatives for these younger audiences.” \u003c/p>\n\u003cp>Unfortunately, low turnout of the hoodie-wearing hipster type is actually consistent throughout the Bay Area. I asked several Bay Area institutions about the matter, and they generously shared some of their figures:\u003c/p>\n\u003cul>\n\u003cli>San Francisco Opera reports that for the 2015-16 season, 7 percent of the total audience was accounted for by the age 26-35 group; the figure rises for single-ticket buyers, and lowers for subscribers.\u003c/li>\n\u003cli>Stanford Live reports student attendance at 12-15 percent of total tickets sold over the past few seasons.\u003c/li>\n\u003cli>Cal Performances reported 10 percent student attendance for main-stage events at UC Berkeley for their 2016-2017 season.\u003c/li>\n\u003cli>Is Symphony Silicon Valley faring any better in San Jose? “The simple answer is no,” says general director Andrew Bales. “We are not drawing a significant crowd from the millennial crowd. It is very sparse in terms of core-classics attendance by that group.”\u003c/li>\n\u003c/ul>\n\u003cp>In fact, the concept of enjoying performance art in a darkened room, communally, isn’t challenged only in classical music. Hollywood and movie theaters have already felt the pinch of streaming apps like Netflix, Amazon, and mobile devices. \u003ca href=\"https://www.theatlantic.com/business/archive/2016/06/hollywood-has-a-huge-millennial-problem/486209/\" target=\"_blank\" rel=\"noopener\">According to \u003cem>The Atlantic\u003c/em>\u003c/a>, “In 2016, the film industry is on pace to sell the fewest U.S. tickets per person of any year since perhaps before the 1920s and the fewest total tickets in two decades… the most important demographic to Hollywood, 18-to-24-year-olds, is also abandoning movies faster than any other group…”\u003c/p>\n\u003cp>That’s not to say millennials are done with music and storytelling. Their attention is simply being diverted to different mediums. \u003c/p>\n\u003cfigure id=\"attachment_13633792\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1020x677.jpg\" alt=\"Artistic co-director Wu Han leads a master class at Music@Menlo.\" width=\"640\" height=\"425\" class=\"size-large wp-image-13633792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artistic co-director Wu Han leads a master class at Music@Menlo. \u003ccite>(Courtesy Music@Menlo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, perhaps the one exception to the Bay Area’s trend is the San Francisco Symphony’s \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> concerts. While the average age of Symphony attendees is 55-56, SoundBox — which experiments boldly with programming and allows cocktails and smartphones — has specifically targeted the age 22-35 demographic. The success has been resounding, with tickets selling out in as quickly as 10 minutes. A ripple effect is that 1,800 more ‘College Nights’ tickets and 2,200 more student rush tickets were reportedly sold at the Symphony than in the previous year. \u003c/p>\n\u003cp>All of which brings us back to Music@Menlo. The festival is in an interesting position, both geographically and in terms of the future. Its venues are small, seating just 160 to 500, and while most of their concerts often sell out, ticket sales account for just 15 percent of its overall budget. Like most not-for-profits, the majority of their income is contributed. \u003c/p>\n\u003cp>So why change anything if it appears to be working so well?\u003c/p>\n\u003cp>“I don’t want to spend any more breath on saying ‘How come people don’t come in?’ It’s actually not true. I know a lot of interesting young people in my audience,” says Wu Han, Music@Menlo’s founder and director. “You always remember the power of the music. If you have unwavering belief in it, it attracts people.”\u003c/p>\n\u003cp>Along with a welcoming community of which Wu Han speaks, there’s something about the cauldron of creativity, the speed and intensity of Silicon Valley that mirrors the developments that occurred in classical music generations ago. \u003c/p>\n\u003cp>“There was a succession of artists in the 19th century, each one who reinvented the wheel for themselves,” says David Finckel, Music@Menlo’s other founder and co-director. “The developments of the violin that took off with Paganini, Wieniawski, Sarasatre, Ysaye, Kreisler, etc. — it’s the attention to details of nuance and color, the crescendo of expressive technique that allowed this thing to reach its peak.”\u003c/p>\n\u003cfigure id=\"attachment_13633793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Finckel.Han_-800x536.jpg\" alt=\"Artistic Directors of Music@Menlo, David Finckel and Wu Han.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13633793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artistic Directors of Music@Menlo, David Finckel and Wu Han.\u003cbr> \u003ccite>(Lisa-Marie Mazzucco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This summer’s programming at Music@Menlo aims to track that progression of the violin, and in Silicon Valley, its features may seem familiar. A communicative instrument once favored because of its compact, transportable nature and its uncanny ability to grab the attention of the senses, the violin reminds me of one of Silicon Valley’s most famous creations: the iPhone. \u003c/p>\n\u003cp>There will likely come a day when the iPhone is nothing more than a collectible for an older generation, replaced by something more attention-grabbing, more scintillating, the “next big thing.” Yet “there will always be people who want what this is,” be they Apple collectors or classical music enthusiasts, to track the developments of human endeavor at their highest peaks.\u003c/p>\n\u003cp>But while a smartphone can rob one of time and attention, great music operates in reverse. \u003c/p>\n\u003cp>“Music has been co-opted by convenience industries: background music, exercise machines, etc. But truly great music is packed with information, and it demands time,” Finckel says. “Time is at a premium in the Silicon Valley, like real estate. What we offer, for a very reasonable price, is an escape, something that provides a possibility of deeper contemplation.” \u003c/p>\n\u003cp>The maestro referenced at the beginning of this piece was right. Perhaps the question I should have asked was clarification of “what this is.” In parallel with film’s new platforms for distribution, is the future of classical music truly tied to the idea of sitting in a large, darkened room with groups of strangers? Can musical experiences embrace technology and changing habits the way other art forms have?\u003c/p>\n\u003cp>Only time will tell. And in the Silicon Valley, apparently, there isn’t much of it left. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Elijah Ho covers classical music for the \u003c/em>San Jose Mercury News\u003cem>, the \u003c/em>San Francisco Examiner\u003cem>, and KQED. His writing can be found at thecounterpoints.com, and you can follow him on Twitter at @elijahho.\u003c/em>\u003c/p>\n\n",
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"title": "For Chamber Music in Silicon Valley, Hoodies and Haydn Don't Mix | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a casual conversation several years ago, one of the great musicians of our time once assured me that the future of classical music was nothing to worry about. “There will always be people who want what this is,” he reasoned. “The people who normally want this kind of experience are usually very intense, very demanding, and usually very educated.”\u003c/p>\n\u003cp>I should have asked him if the intense, demanding and educated young professionals of Silicon Valley were an exception to this rule. \u003c/p>\n\u003cp>Classical music has never been more accessible. Streaming apps and sites like YouTube are a trove of newest releases, historical masterclasses, and glorious bootlegged performances of yesteryear. Today’s maestros can be found on Facebook, Instagram and Twitter. Yet the advantages of technology haven’t resulted in widespread interest among younger ages, and nowhere is this more apparent than the region where that technology is developed.\u003c/p>\n\u003cp>Take, for example, Music@Menlo, whose fifteenth season “The Glorious Violin” begins July 14 at the Menlo School in Atherton, a 10-minute drive from Facebook headquarters in Menlo Park. \u003c/p>\n\u003cfigure id=\"attachment_13633791\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Theater.Menlo_.jpg\" alt=\"Martin Family Hall at Menlo School, Home to Music@Menlo.\" width=\"1100\" height=\"733\" class=\"size-full wp-image-13633791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Theater.Menlo_-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Martin Family Hall at Menlo School, Home to Music@Menlo. \u003ccite>(Joel Simon Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nestled among the makers and movers of Silicon Valley, Music@Menlo is hailed as the Bay Area’s most glamorous chamber music festival. Nearly every concert is packed. It exhibits a healthy communion between musicians and receptive patrons in an area of digitized “connection,” and includes world-class musicians, editors, writers, directors — on a first-name basis with many subscribers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is one thorny issue, though: the young makers and movers of the neighboring tech world aren’t exactly tuning in. \u003c/p>\n\u003cp>According to research company PayScale, the median age of Facebook employees is 29; it’s 30 at Google, and 31 at Apple. Music@Menlo’s last comprehensive study found that only 7 percent of its audience was under the age of 35; 60 percent was accounted for by those 65 and over. \u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘We did a lunchtime performance at the Google campus, but did not see much return in the way of new festival attendees.’ \u003ccite>Edward Sweeney \u003c/cite> \u003c/aside>\n\u003cp>In an area teeming with creativity and highly educated, high-income types, one would think that a festival offering some of the most talented, vibrant young stars in the industry, performing tried-tested-and-true repertoire at a world-class clip, might be of more interest. \u003c/p>\n\u003cp>“Several years ago, we did a lunchtime performance at the Google campus, but did not see much return in the way of new festival attendees,” says Edward Sweeney, Music@Menlo’s Executive Director. “Some of the challenges we have observed include the fact that many Silicon Valley tech workers actually live up in San Francisco. The peninsula does not necessarily have the active nightlife that would be a draw for the 25-35 demographic. There is tremendous competition for entertainment alternatives for these younger audiences.” \u003c/p>\n\u003cp>Unfortunately, low turnout of the hoodie-wearing hipster type is actually consistent throughout the Bay Area. I asked several Bay Area institutions about the matter, and they generously shared some of their figures:\u003c/p>\n\u003cul>\n\u003cli>San Francisco Opera reports that for the 2015-16 season, 7 percent of the total audience was accounted for by the age 26-35 group; the figure rises for single-ticket buyers, and lowers for subscribers.\u003c/li>\n\u003cli>Stanford Live reports student attendance at 12-15 percent of total tickets sold over the past few seasons.\u003c/li>\n\u003cli>Cal Performances reported 10 percent student attendance for main-stage events at UC Berkeley for their 2016-2017 season.\u003c/li>\n\u003cli>Is Symphony Silicon Valley faring any better in San Jose? “The simple answer is no,” says general director Andrew Bales. “We are not drawing a significant crowd from the millennial crowd. It is very sparse in terms of core-classics attendance by that group.”\u003c/li>\n\u003c/ul>\n\u003cp>In fact, the concept of enjoying performance art in a darkened room, communally, isn’t challenged only in classical music. Hollywood and movie theaters have already felt the pinch of streaming apps like Netflix, Amazon, and mobile devices. \u003ca href=\"https://www.theatlantic.com/business/archive/2016/06/hollywood-has-a-huge-millennial-problem/486209/\" target=\"_blank\" rel=\"noopener\">According to \u003cem>The Atlantic\u003c/em>\u003c/a>, “In 2016, the film industry is on pace to sell the fewest U.S. tickets per person of any year since perhaps before the 1920s and the fewest total tickets in two decades… the most important demographic to Hollywood, 18-to-24-year-olds, is also abandoning movies faster than any other group…”\u003c/p>\n\u003cp>That’s not to say millennials are done with music and storytelling. Their attention is simply being diverted to different mediums. \u003c/p>\n\u003cfigure id=\"attachment_13633792\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1020x677.jpg\" alt=\"Artistic co-director Wu Han leads a master class at Music@Menlo.\" width=\"640\" height=\"425\" class=\"size-large wp-image-13633792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/WuHan.Class_-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artistic co-director Wu Han leads a master class at Music@Menlo. \u003ccite>(Courtesy Music@Menlo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, perhaps the one exception to the Bay Area’s trend is the San Francisco Symphony’s \u003ca href=\"https://ww2.kqed.org/arts/2014/12/15/live-review-soundbox-classical-goes-clubbing/\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a> concerts. While the average age of Symphony attendees is 55-56, SoundBox — which experiments boldly with programming and allows cocktails and smartphones — has specifically targeted the age 22-35 demographic. The success has been resounding, with tickets selling out in as quickly as 10 minutes. A ripple effect is that 1,800 more ‘College Nights’ tickets and 2,200 more student rush tickets were reportedly sold at the Symphony than in the previous year. \u003c/p>\n\u003cp>All of which brings us back to Music@Menlo. The festival is in an interesting position, both geographically and in terms of the future. Its venues are small, seating just 160 to 500, and while most of their concerts often sell out, ticket sales account for just 15 percent of its overall budget. Like most not-for-profits, the majority of their income is contributed. \u003c/p>\n\u003cp>So why change anything if it appears to be working so well?\u003c/p>\n\u003cp>“I don’t want to spend any more breath on saying ‘How come people don’t come in?’ It’s actually not true. I know a lot of interesting young people in my audience,” says Wu Han, Music@Menlo’s founder and director. “You always remember the power of the music. If you have unwavering belief in it, it attracts people.”\u003c/p>\n\u003cp>Along with a welcoming community of which Wu Han speaks, there’s something about the cauldron of creativity, the speed and intensity of Silicon Valley that mirrors the developments that occurred in classical music generations ago. \u003c/p>\n\u003cp>“There was a succession of artists in the 19th century, each one who reinvented the wheel for themselves,” says David Finckel, Music@Menlo’s other founder and co-director. “The developments of the violin that took off with Paganini, Wieniawski, Sarasatre, Ysaye, Kreisler, etc. — it’s the attention to details of nuance and color, the crescendo of expressive technique that allowed this thing to reach its peak.”\u003c/p>\n\u003cfigure id=\"attachment_13633793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Finckel.Han_-800x536.jpg\" alt=\"Artistic Directors of Music@Menlo, David Finckel and Wu Han.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13633793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Finckel.Han_-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artistic Directors of Music@Menlo, David Finckel and Wu Han.\u003cbr> \u003ccite>(Lisa-Marie Mazzucco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This summer’s programming at Music@Menlo aims to track that progression of the violin, and in Silicon Valley, its features may seem familiar. A communicative instrument once favored because of its compact, transportable nature and its uncanny ability to grab the attention of the senses, the violin reminds me of one of Silicon Valley’s most famous creations: the iPhone. \u003c/p>\n\u003cp>There will likely come a day when the iPhone is nothing more than a collectible for an older generation, replaced by something more attention-grabbing, more scintillating, the “next big thing.” Yet “there will always be people who want what this is,” be they Apple collectors or classical music enthusiasts, to track the developments of human endeavor at their highest peaks.\u003c/p>\n\u003cp>But while a smartphone can rob one of time and attention, great music operates in reverse. \u003c/p>\n\u003cp>“Music has been co-opted by convenience industries: background music, exercise machines, etc. But truly great music is packed with information, and it demands time,” Finckel says. “Time is at a premium in the Silicon Valley, like real estate. What we offer, for a very reasonable price, is an escape, something that provides a possibility of deeper contemplation.” \u003c/p>\n\u003cp>The maestro referenced at the beginning of this piece was right. Perhaps the question I should have asked was clarification of “what this is.” In parallel with film’s new platforms for distribution, is the future of classical music truly tied to the idea of sitting in a large, darkened room with groups of strangers? Can musical experiences embrace technology and changing habits the way other art forms have?\u003c/p>\n\u003cp>Only time will tell. And in the Silicon Valley, apparently, there isn’t much of it left. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Elijah Ho covers classical music for the \u003c/em>San Jose Mercury News\u003cem>, the \u003c/em>San Francisco Examiner\u003cem>, and KQED. His writing can be found at thecounterpoints.com, and you can follow him on Twitter at @elijahho.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Crenshaw to Pt. Reyes: Cool Summer Sounds From Terrace Martin's Pollyseeds and Art Feynman",
"title": "From Crenshaw to Pt. Reyes: Cool Summer Sounds From Terrace Martin's Pollyseeds and Art Feynman",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MewaVB21J38\u003c/p>\n\n",
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"excerpt": "If you haven't filled up your summer road trip playlists yet, here are a couple contenders, from soul to low-fi psych rock.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MewaVB21J38'\n title='//www.youtube.com/embed/MewaVB21J38'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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