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"title": "Live Review: Feist Delivers 'Pleasure' and Then Some at The Fillmore",
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"content": "\u003cp>Leslie Feist can’t help how likable she is. I got the feeling last night, May 9, her first of three evenings at the Fillmore, that this is sometimes a cross to bear — that if she could be weirder, less digestible, smoke the fist-pumping bros in attendance out of their entitled, beery, request-yelling hole, she might.\u003c/p>\n\u003cp>Alas, the singer’s idiosyncratic voice and not-immediately-accessible new album do little when pitted against her charm. She is the same Feist whose biggest song is still mainly recognized in the pop culture zeitgeist as \u003ca href=\"https://www.youtube.com/watch?v=sijSh4tMPVg\" target=\"_blank\" rel=\"noopener noreferrer\">that song from an iPod commercial\u003c/a>. This, she cannot undo.\u003c/p>\n\u003cp>She can, however, hold an audience captive for a solid two and a half hour-long set, and this, she did: playing through the entirety of \u003cem>Pleasure\u003c/em>, the record released just two weeks ago, she balanced the album’s intimacy and minimalism with a playful and satisfyingly hard-rocking confidence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=h66Lvzlj1Uk\u003c/p>\n\u003cp>Several critics have said they’ve found \u003cem>Pleasure\u003c/em> to be a grower, if you will. Feist does not care. At 41, she \u003ca href=\"http://www.npr.org/2017/05/07/527109174/feist-has-a-message-for-her-71-year-old-self\" target=\"_blank\" rel=\"noopener noreferrer\">recently told NPR that the record came from a place of wanting to get back to basics\u003c/a>, to make something “sustainable” she will feel fondly toward in her 70s. It follows, then, that her older songs still have value, containing “little embedded, codified messages” from “28-year-old Leslie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It reminded me of Joan Didion’s \u003ca href=\"https://www.penusa.org/sites/default/files/didion.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">best-known essay\u003c/a>, \u003cem>On Keeping a Noteboo\u003c/em>k, in which the writer says we are “well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.” And regardless of what Leslie Feist herself thinks of her earlier, more heavily produced successes, this live audience clearly found all versions of Feist the Recording Artist — including the most recent, introspective edition — to be more than decent company.\u003c/p>\n\u003cp>“Who came here tonight with someone they’re really into? ” she asked with a grin as she scanned the sold-out crowd. “I want you to look into their eyes for this song. But no pressure or anything.” That preceded “Any Party,” the album’s only true pop tune, built over a campfire guitar strum, an ode to being drunk off new love. (Shirts bearing its chorus, \u003cem>You know I’d leave any party for you,\u003c/em> were available at the merch table, natch.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13200739\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Feist takes old-fashioned breaks from releasing music and traditional touring, so it’s easy to think of her presence in a spotlight as something of a rarity: \u003cem>Pleasure\u003c/em> marks a six-year gap since 2011’s widely acclaimed, orchestral \u003cem>Metals\u003c/em>, which followed a four-year recovery period after 2007’s \u003cem>The Reminder\u003c/em>, the record that launched her into stardom, “Mushaboom,” “1234,” \u003ca href=\"https://www.youtube.com/watch?v=fZ9WiuJPnNA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em> fame and all\u003c/a>.\u003c/p>\n\u003cp>But live, one is immediately reminded she’s been performing since she was 15, whether at the helm of her first punk band, or as one of a dozen-plus voices contributing to the gorgeous cacophony of Broken Social Scene. (A fan yelled out “Lover’s Spit” at one point, to which she replied “Wrong band!” and then, “Give me a few months.” She did, in fact, contribute to \u003ca href=\"https://consequenceofsound.net/2017/05/new-broken-social-scene-album-hug-of-thunder-due-out-in-july/\" target=\"_blank\" rel=\"noopener noreferrer\">the new BSS record, due out in July\u003c/a>.)\u003c/p>\n\u003cp>Alone, however, she plays with tension masterfully. Feist knows she has you in the palm of her hand. You are going to listen to each pregnant silence between very purposeful notes, you are going to like it, and then she is going to hit you over the head with some new contradiction.\u003c/p>\n\u003cp>That might mean layering her own voice over itself until a wavered question becomes an anthem, as on “Lost Dreams”; performing 15 seconds of guitar fireworks with a lighthearted headbang before ducking back behind the mic for a coy “You guys like that?”; or somehow managing to come off consistently humble — self-deprecating, even, dare I say \u003cem>Canadian?\u003c/em> — while wearing a neon pink dress in front of a sparse three-man backing band all in black, as an oversized decorative fan printed with roses unfolded dramatically behind them. (Basically the large-scale indie-rock version of the clamshell from \u003cem>The Little Mermaid\u003c/em>, as a friend noted.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BT62pw7hhhL/\u003c/p>\n\u003cp>By the time she completed the new album and launched into the obligatory fan favorites — “My Moon My Man,” “I Feel It All,” et al — I had changed my mind about how she must feel toward her more fairweather, iPod commercial-oriented fans.\u003c/p>\n\u003cp>If a musician’s catalog is the sonic version of Didion’s notebooks, after all, then Feist’s notebooks, unlike most of ours, are available for purchase on iTunes and Amazon. And even at their least accessible — judging by the glowy-eyed couples floating toward the exits, Fillmore posters in hand — they can’t help it that they, along with their author, are exceedingly likable. In an industry where charm is money, there are, it turns out, worse burdens for an artist to bear.\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=\"Q.Logo.Break\" 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>Feist performs again Wednesday, May 10 and Thursday, May 11 at the Fillmore, \u003ca href=\"http://thefillmore.com/event/feist-2/\" target=\"_blank\" rel=\"noopener noreferrer\">the latter of which still has tickets ($39.50) available\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "After a six-year break, the indie pop artist returns with a record that's deceptively powerful in its minimalism -- and three packed nights at the Fillmore. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leslie Feist can’t help how likable she is. I got the feeling last night, May 9, her first of three evenings at the Fillmore, that this is sometimes a cross to bear — that if she could be weirder, less digestible, smoke the fist-pumping bros in attendance out of their entitled, beery, request-yelling hole, she might.\u003c/p>\n\u003cp>Alas, the singer’s idiosyncratic voice and not-immediately-accessible new album do little when pitted against her charm. She is the same Feist whose biggest song is still mainly recognized in the pop culture zeitgeist as \u003ca href=\"https://www.youtube.com/watch?v=sijSh4tMPVg\" target=\"_blank\" rel=\"noopener noreferrer\">that song from an iPod commercial\u003c/a>. This, she cannot undo.\u003c/p>\n\u003cp>She can, however, hold an audience captive for a solid two and a half hour-long set, and this, she did: playing through the entirety of \u003cem>Pleasure\u003c/em>, the record released just two weeks ago, she balanced the album’s intimacy and minimalism with a playful and satisfyingly hard-rocking confidence.\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/h66Lvzlj1Uk'\n title='//www.youtube.com/embed/h66Lvzlj1Uk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several critics have said they’ve found \u003cem>Pleasure\u003c/em> to be a grower, if you will. Feist does not care. At 41, she \u003ca href=\"http://www.npr.org/2017/05/07/527109174/feist-has-a-message-for-her-71-year-old-self\" target=\"_blank\" rel=\"noopener noreferrer\">recently told NPR that the record came from a place of wanting to get back to basics\u003c/a>, to make something “sustainable” she will feel fondly toward in her 70s. It follows, then, that her older songs still have value, containing “little embedded, codified messages” from “28-year-old Leslie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It reminded me of Joan Didion’s \u003ca href=\"https://www.penusa.org/sites/default/files/didion.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">best-known essay\u003c/a>, \u003cem>On Keeping a Noteboo\u003c/em>k, in which the writer says we are “well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.” And regardless of what Leslie Feist herself thinks of her earlier, more heavily produced successes, this live audience clearly found all versions of Feist the Recording Artist — including the most recent, introspective edition — to be more than decent company.\u003c/p>\n\u003cp>“Who came here tonight with someone they’re really into? ” she asked with a grin as she scanned the sold-out crowd. “I want you to look into their eyes for this song. But no pressure or anything.” That preceded “Any Party,” the album’s only true pop tune, built over a campfire guitar strum, an ode to being drunk off new love. (Shirts bearing its chorus, \u003cem>You know I’d leave any party for you,\u003c/em> were available at the merch table, natch.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13200739\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/FullSizeRender-13.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Feist takes old-fashioned breaks from releasing music and traditional touring, so it’s easy to think of her presence in a spotlight as something of a rarity: \u003cem>Pleasure\u003c/em> marks a six-year gap since 2011’s widely acclaimed, orchestral \u003cem>Metals\u003c/em>, which followed a four-year recovery period after 2007’s \u003cem>The Reminder\u003c/em>, the record that launched her into stardom, “Mushaboom,” “1234,” \u003ca href=\"https://www.youtube.com/watch?v=fZ9WiuJPnNA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em> fame and all\u003c/a>.\u003c/p>\n\u003cp>But live, one is immediately reminded she’s been performing since she was 15, whether at the helm of her first punk band, or as one of a dozen-plus voices contributing to the gorgeous cacophony of Broken Social Scene. (A fan yelled out “Lover’s Spit” at one point, to which she replied “Wrong band!” and then, “Give me a few months.” She did, in fact, contribute to \u003ca href=\"https://consequenceofsound.net/2017/05/new-broken-social-scene-album-hug-of-thunder-due-out-in-july/\" target=\"_blank\" rel=\"noopener noreferrer\">the new BSS record, due out in July\u003c/a>.)\u003c/p>\n\u003cp>Alone, however, she plays with tension masterfully. Feist knows she has you in the palm of her hand. You are going to listen to each pregnant silence between very purposeful notes, you are going to like it, and then she is going to hit you over the head with some new contradiction.\u003c/p>\n\u003cp>That might mean layering her own voice over itself until a wavered question becomes an anthem, as on “Lost Dreams”; performing 15 seconds of guitar fireworks with a lighthearted headbang before ducking back behind the mic for a coy “You guys like that?”; or somehow managing to come off consistently humble — self-deprecating, even, dare I say \u003cem>Canadian?\u003c/em> — while wearing a neon pink dress in front of a sparse three-man backing band all in black, as an oversized decorative fan printed with roses unfolded dramatically behind them. (Basically the large-scale indie-rock version of the clamshell from \u003cem>The Little Mermaid\u003c/em>, as a friend noted.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time she completed the new album and launched into the obligatory fan favorites — “My Moon My Man,” “I Feel It All,” et al — I had changed my mind about how she must feel toward her more fairweather, iPod commercial-oriented fans.\u003c/p>\n\u003cp>If a musician’s catalog is the sonic version of Didion’s notebooks, after all, then Feist’s notebooks, unlike most of ours, are available for purchase on iTunes and Amazon. And even at their least accessible — judging by the glowy-eyed couples floating toward the exits, Fillmore posters in hand — they can’t help it that they, along with their author, are exceedingly likable. In an industry where charm is money, there are, it turns out, worse burdens for an artist to bear.\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=\"Q.Logo.Break\" 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>Feist performs again Wednesday, May 10 and Thursday, May 11 at the Fillmore, \u003ca href=\"http://thefillmore.com/event/feist-2/\" target=\"_blank\" rel=\"noopener noreferrer\">the latter of which still has tickets ($39.50) available\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve known for a \u003ca href=\"http://www.billboard.com/articles/business/7646992/grammy-awards-naras-buys-manhattan-property\" target=\"_blank\" rel=\"noopener\">few months now\u003c/a> that the Recording Academy was \u003cem>probably\u003c/em> planning a return to New York for next year’s Grammy Awards. Now we know for sure.\u003c/p>\n\u003cp>“We welcome the Grammy Awards back to New York City with open arms,” said New York mayor Bill de Blasio in a statement, “and we look forward to continuing to partner with a music industry that supports access and empowerment in the arts.”\u003c/p>\n\u003cp>The show — the Grammys first New York ceremony since 2003 — is scheduled for January 28, 2018 and will be held at Madison Square Garden. To mark the occasion, the Academy hired Spike Lee to direct a whirling tribute to the city’s indelible musical legacy featuring Q-Tip of A Tribe Called Quest, Maxwell, Nile Rogers, Cyndi Lauper and Joan Jett. (What, no Philip Glass?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6cGh_8wuL1U\u003c/p>\n\u003cp>Shot in high-contrast black-and-white, the promo highlights New York’s black musical history … which is nice, but we all know that the Grammys have struggled to properly acknowledge non-white music in their present moment, whatever it may be. The problem, \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/14/515024057/the-problem-with-the-grammys-is-not-a-problem-we-can-fix\">addressed eloquently\u003c/a> by Ann Powers after this year’s show, will likely not be fully salved eight months from now — but here’s to hoping. \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=Grammy+Awards+Switch+Coasts%2C+Return+To+New+York&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve known for a \u003ca href=\"http://www.billboard.com/articles/business/7646992/grammy-awards-naras-buys-manhattan-property\" target=\"_blank\" rel=\"noopener\">few months now\u003c/a> that the Recording Academy was \u003cem>probably\u003c/em> planning a return to New York for next year’s Grammy Awards. Now we know for sure.\u003c/p>\n\u003cp>“We welcome the Grammy Awards back to New York City with open arms,” said New York mayor Bill de Blasio in a statement, “and we look forward to continuing to partner with a music industry that supports access and empowerment in the arts.”\u003c/p>\n\u003cp>The show — the Grammys first New York ceremony since 2003 — is scheduled for January 28, 2018 and will be held at Madison Square Garden. To mark the occasion, the Academy hired Spike Lee to direct a whirling tribute to the city’s indelible musical legacy featuring Q-Tip of A Tribe Called Quest, Maxwell, Nile Rogers, Cyndi Lauper and Joan Jett. (What, no Philip Glass?)\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/6cGh_8wuL1U'\n title='//www.youtube.com/embed/6cGh_8wuL1U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in high-contrast black-and-white, the promo highlights New York’s black musical history … which is nice, but we all know that the Grammys have struggled to properly acknowledge non-white music in their present moment, whatever it may be. The problem, \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/14/515024057/the-problem-with-the-grammys-is-not-a-problem-we-can-fix\">addressed eloquently\u003c/a> by Ann Powers after this year’s show, will likely not be fully salved eight months from now — but here’s to hoping. \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=Grammy+Awards+Switch+Coasts%2C+Return+To+New+York&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sir Mix-a-Lot on 25 Years of 'Baby Got Back'",
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"content": "\u003cp>Twenty-five years ago Tuesday, a career-defining single was born — and with it, endless sitcom jokes and rap homages. It was referenced in \u003cem>Sing\u003c/em>, the 2016 animated children’s movie, and in \u003cem>Shrek\u003c/em> years before that. But when it debuted in 1992, there were those who took it to heart as an anthem of body positivity.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=kY84MRnxVzo\" target=\"_blank\" rel=\"noopener\">Baby Got Back\u003c/a>” begins kind of a heartbreaking scene: a white woman talking to her friend Becky, straight up mocking a black woman. The man behind the song, Anthony Ray — better known as Sir Mix-a-Lot — says he didn’t make that up.\u003c/p>\n\u003cp>“It was like a blown-out, glorified version of what was actually being said at that time,” he says. “Basically, pop culture was waif-thin, heroin addict, big hair, fake boobs — you know, that was what they thought beautiful was. And because of the way it was discussed publicly, it made women who had naturally curvy bodies … run around with sweaters wrapped around their waist.”\u003c/p>\n\u003cp>“When I heard it, I just felt so — it was so affirming,” says Erin Aubry Kaplan. In the mid-’90s, Kaplan was staff writer at \u003cem>LA Weekly\u003c/em>. She and wrote a big feature article about the paradoxical way black women’s butts were seen — using “Baby Got Back” as an epigraph.\u003c/p>\n\u003cp>“Every day, my butt wears \u003cem>me\u003c/em> tolerably well, I’d like to think,” her piece went, “and has ever since I came full up on puberty about 20 years ago and had to wrestle it back into the Levi’s 501s it had barely put up with anyway.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kaplan says she admired the way the “Baby Got Back” cut through the timidity people had talking about that part of the body: “It was saying to me and other black women, you know what, you have a great shape and white people think that too. ‘Even white boys got to shout.'”\u003c/p>\n\u003cp>The song was pretty clear about who Mix-a-Lot thought was to blame, calling out magazines like \u003cem>Cosmopolitan\u003c/em> and \u003cem>Playboy\u003c/em> for pushing a very specific worldview of what women should look like. Have things changed in the past quarter-century? A little, says Ashley Weatherford, a beauty editor at \u003cem>New York\u003c/em> magazine’s fashion site, The Cut.\u003c/p>\n\u003cp>“It’s been a long time coming, but I think there’s certainly an element, especially within the magazine space, of embracing a diversity of body sizes,” Weatherford says, though she thinks sites like hers might be ahead of the curve on that. She adds that black women didn’t really need Sir Mix-a-Lot to take up this particular fight — “but that doesn’t mean it’s not nice.”\u003c/p>\n\u003cp>As for Mix-a-Lot himself, he says he hasn’t put the song behind him yet, and still plays it when he gets a chance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I do bar mitzvahs? No,” he says, laughing. “You know, you’ve gotta draw a line somewhere. But when you’re in front of a big crowd — I know what they’re there to see.” \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=Sir+Mix-a-Lot+On+25+Years+Of+%27Baby+Got+Back%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago Tuesday, a career-defining single was born — and with it, endless sitcom jokes and rap homages. It was referenced in \u003cem>Sing\u003c/em>, the 2016 animated children’s movie, and in \u003cem>Shrek\u003c/em> years before that. But when it debuted in 1992, there were those who took it to heart as an anthem of body positivity.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=kY84MRnxVzo\" target=\"_blank\" rel=\"noopener\">Baby Got Back\u003c/a>” begins kind of a heartbreaking scene: a white woman talking to her friend Becky, straight up mocking a black woman. The man behind the song, Anthony Ray — better known as Sir Mix-a-Lot — says he didn’t make that up.\u003c/p>\n\u003cp>“It was like a blown-out, glorified version of what was actually being said at that time,” he says. “Basically, pop culture was waif-thin, heroin addict, big hair, fake boobs — you know, that was what they thought beautiful was. And because of the way it was discussed publicly, it made women who had naturally curvy bodies … run around with sweaters wrapped around their waist.”\u003c/p>\n\u003cp>“When I heard it, I just felt so — it was so affirming,” says Erin Aubry Kaplan. In the mid-’90s, Kaplan was staff writer at \u003cem>LA Weekly\u003c/em>. She and wrote a big feature article about the paradoxical way black women’s butts were seen — using “Baby Got Back” as an epigraph.\u003c/p>\n\u003cp>“Every day, my butt wears \u003cem>me\u003c/em> tolerably well, I’d like to think,” her piece went, “and has ever since I came full up on puberty about 20 years ago and had to wrestle it back into the Levi’s 501s it had barely put up with anyway.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kaplan says she admired the way the “Baby Got Back” cut through the timidity people had talking about that part of the body: “It was saying to me and other black women, you know what, you have a great shape and white people think that too. ‘Even white boys got to shout.'”\u003c/p>\n\u003cp>The song was pretty clear about who Mix-a-Lot thought was to blame, calling out magazines like \u003cem>Cosmopolitan\u003c/em> and \u003cem>Playboy\u003c/em> for pushing a very specific worldview of what women should look like. Have things changed in the past quarter-century? A little, says Ashley Weatherford, a beauty editor at \u003cem>New York\u003c/em> magazine’s fashion site, The Cut.\u003c/p>\n\u003cp>“It’s been a long time coming, but I think there’s certainly an element, especially within the magazine space, of embracing a diversity of body sizes,” Weatherford says, though she thinks sites like hers might be ahead of the curve on that. She adds that black women didn’t really need Sir Mix-a-Lot to take up this particular fight — “but that doesn’t mean it’s not nice.”\u003c/p>\n\u003cp>As for Mix-a-Lot himself, he says he hasn’t put the song behind him yet, and still plays it when he gets a chance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I do bar mitzvahs? No,” he says, laughing. “You know, you’ve gotta draw a line somewhere. But when you’re in front of a big crowd — I know what they’re there to see.” \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=Sir+Mix-a-Lot+On+25+Years+Of+%27Baby+Got+Back%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61",
"title": "Cecilia Kuhn, Drummer for Influential Feminist Punks Frightwig, Dies at 61",
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"headTitle": "Cecilia Kuhn, Drummer for Influential Feminist Punks Frightwig, Dies at 61 | KQED",
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"content": "\u003cp>Cecilia Kuhn, whose drumming for the fearless feminist punk band Frightwig inspired countless musicians, has died of cancer. She was 61.\u003c/p>\n\u003cp>Frightwig bassist Deanna Mitchell posted on the \u003ca href=\"https://www.facebook.com/groups/429247990446320/permalink/1319909594713484/\" target=\"_blank\" rel=\"noopener\">band’s Facebook group\u003c/a> last week that Kuhn had died that Thursday.\u003c/p>\n\u003cp>“Cecilia is released from the troubles of daily life,” Mitchell wrote. \u003c/p>\n\u003cp>Kuhn was an essential component of the San Francisco-based, all-female punk band that made its mark during the male-dominated hardcore scene of the 1980s. Frightwig guitarist Mia Simmans said that Kuhn’s musicianship and fearlessness in the face of rowdy, chauvinistic punk audiences propelled the band to pursue more than just the occasional show. With Kuhn as the band’s battery, Frightwig would go onto record two albums and inspire bands like Hole, Babes In Toyland, and Bikini Kill.\u003c/p>\n\u003cp>“She was really good at saying yes. We all were, but she had her life together,” Simmans said. “She was more organized than Deanna and I ever were, and her spirit was clear. She was like, ‘Yeah, let’s rock. Let’s kick the ass of the world.'” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simmans added: “She was also the only one of us who owned a vehicle.”\u003c/p>\n\u003cfigure id=\"attachment_13186604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg\" alt=\"Cecilia Kuhn, Deanna Mitchell and Mia Simmans of Frightwig, back in the '80s\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13186604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1.jpg 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn, Deanna Mitchell and Mia Simmons of Frightwig in the 1980s. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Arkansas, Kuhn came to drums late in life, picking up the sticks on a whim in her 20s and living in California. From a 2013 interview she did with \u003ca href=\"http://frightwig.org/?page_id=510\" target=\"_blank\" rel=\"noopener\">Tom Tom Magazine\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI was sitting there, contemplating my boring life and flying into L.A. I looked out the window as we were landing, and I said, “F*ck this, I’m learning drums.” I started drum lessons soon after that. Playing drums just seemed like a good antidote to the stupid life I was leading. Little did I know what a major decision that was.\u003c/p>\u003c/blockquote>\n\u003cp>Mitchell and Simmans started Frightwig in 1982, and Kuhn was an early fan who helped the band out as a roadie, including setting up the drum kit and transporting it to shows. Before long, Kuhn took her rightful place behind the kit and became the band’s drummer.\u003c/p>\n\u003cp>Tall, with big blonde hair and a penchant for wearing boxer shorts and Converse high tops, Kuhn was frequently described as being “intimidating” on stage, which Simmans credits to her physicality and “fierceness.” She was also a musical triple threat, bringing drum and guitar skills to the band, as well as a beautiful singing voice.\u003c/p>\n\u003cp>“She was by far the best singer out of all of us,” Simmans said. \u003c/p>\n\u003cp>But according to Kuhn, other musicians she played with outside of Frightwig rarely complimented her other than saying, “You play well for a girl.”\u003c/p>\n\u003cp>“Meaning, I didn’t play better than any of the guys,” Kuhn would say years later. “There seems to be an automatic comparison or competition going on, and some people feel like it’s real important that I understand my place in the hierarchy.”\u003c/p>\n\u003cfigure id=\"attachment_13187797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg\" alt=\"Cecilia Kuhn in 1985\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13187797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1920x1247.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn in 1985. \u003ccite>(Bobby Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Frightwig was beloved by bands such as the Butthole Surfers and Flipper, the audiences they faced were frequently hostile. Crowds often spat on the band and catcalled the band members. \u003c/p>\n\u003cp>“They were all bro dudes — bro-douches. I’m sure they all grew out of it, but at the time, when the hardcore scene came in, they did not know what to do with us,” Simmons said. \u003c/p>\n\u003cp>Frightwig went on to release two celebrated albums — \u003ci>Cat Farm Faboo\u003c/i> and \u003ci>Faster, Frightwig, KILL! KILL!\u003c/i> — and several EPs. In tours of the United States and Europe, they inspired women everywhere they played to pick up instruments. \u003c/p>\n\u003cp>“On June 6, 1985, I went to the Gorilla Gardens in Seattle to see GBH. The band that opened was Frightwig. 4 women from San Francisco playing noise rock and giving absolutely ZERO f*cks about the guys with liberty spikes shouting at them after every song. I bought their record \u003cem>Cat Farm Faboo\u003c/em> and listened to it every single day for the rest of that summer,” Hole drummer Patty Schemel wrote on Facebook.\u003c/p>\n\u003cp>“Seeing Frightwig as a teenage punk rocker was one of my very early introductions to feminism. They were hugely influential on the late 80’s/early 90s punk rock feminist scene that happened here, and Cecilia, in particular, was an inspiration to me personally. As a drummer, singer, songwriter, and performer, she was completely amazing and awe-inspiring,” Bikini Kill drummer \u003ca href=\"https://www.facebook.com/photo.php?fbid=10209033877060292&set=a.3427726968116.2128910.1118564129\" target=\"_blank\" rel=\"noopener\">Tobi Vail wrote\u003c/a>. \u003c/p>\n\u003cp>Kuhn left Frightwig a few years before the band broke up in 1994. When the band was asked to reunite for the Punk Rock Reunion back in 2012, Kuhn resisted at first, but jumped right back in. At the time, she lived and worked for a county outside of Sacramento, and she’d drive four hours to practice with the band on weekends.\u003c/p>\n\u003cp>“She loved playing. She would come from her county clerk job in her old lady clothes, put on black jeans and rock it so hard,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that before the reunited band’s big show opening for Faith No More in 2015, Kuhn started showing signs of illness, but it didn’t stop her from fulfilling her band duties. \u003c/p>\n\u003cp>“Back in January of 2015, when we starting rehearsing for the Faith No More show, she was ill then and was losing weight. By that April she had lost so much weight,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that Kuhn was a private person and asked that her diagnosis not be shared with the public. But her illness shocked the band, who saw her as the pinnacle of health. While the band partied hard during the ’80s, she stayed in control and never picked up a drug habit. She was also a dedicated vegan who spent many hours during their later tours looking for vegan restaurants in the towns they played.\u003c/p>\n\u003cp>“I remember her writing us and saying something like ‘What happened to me is no one’s fault. God isn’t punishing me, I didn’t do anything to deserve this. It just happened,'” Mitchell wrote.\u003c/p>\n\u003cp>Mitchell said that the band is working with Kuhn’s coven — she was a dedicated pagan — on a celebration of her life. The event will be private, and planned for Father’s Day.\u003c/p>\n\u003cp>“We’re going to smash the patriarchy one last time,” Mitchell said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch Kuhn sing “My Crotch Does Not Say Go” in 2013.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isACQbeKQFo\u003c/p>\n\n",
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"excerpt": "Frightwig would go onto to inspire riot grrrl musicians such as Courtney Love, Patty Schemel and Tobi Vail.",
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"title": "Cecilia Kuhn, Drummer for Influential Feminist Punks Frightwig, Dies at 61 | KQED",
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"headline": "Cecilia Kuhn, Drummer for Influential Feminist Punks Frightwig, Dies at 61",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cecilia Kuhn, whose drumming for the fearless feminist punk band Frightwig inspired countless musicians, has died of cancer. She was 61.\u003c/p>\n\u003cp>Frightwig bassist Deanna Mitchell posted on the \u003ca href=\"https://www.facebook.com/groups/429247990446320/permalink/1319909594713484/\" target=\"_blank\" rel=\"noopener\">band’s Facebook group\u003c/a> last week that Kuhn had died that Thursday.\u003c/p>\n\u003cp>“Cecilia is released from the troubles of daily life,” Mitchell wrote. \u003c/p>\n\u003cp>Kuhn was an essential component of the San Francisco-based, all-female punk band that made its mark during the male-dominated hardcore scene of the 1980s. Frightwig guitarist Mia Simmans said that Kuhn’s musicianship and fearlessness in the face of rowdy, chauvinistic punk audiences propelled the band to pursue more than just the occasional show. With Kuhn as the band’s battery, Frightwig would go onto record two albums and inspire bands like Hole, Babes In Toyland, and Bikini Kill.\u003c/p>\n\u003cp>“She was really good at saying yes. We all were, but she had her life together,” Simmans said. “She was more organized than Deanna and I ever were, and her spirit was clear. She was like, ‘Yeah, let’s rock. Let’s kick the ass of the world.'” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simmans added: “She was also the only one of us who owned a vehicle.”\u003c/p>\n\u003cfigure id=\"attachment_13186604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg\" alt=\"Cecilia Kuhn, Deanna Mitchell and Mia Simmans of Frightwig, back in the '80s\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13186604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Deanna-and-Mia-of-Frightwig1.jpg 1176w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn, Deanna Mitchell and Mia Simmons of Frightwig in the 1980s. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Arkansas, Kuhn came to drums late in life, picking up the sticks on a whim in her 20s and living in California. From a 2013 interview she did with \u003ca href=\"http://frightwig.org/?page_id=510\" target=\"_blank\" rel=\"noopener\">Tom Tom Magazine\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI was sitting there, contemplating my boring life and flying into L.A. I looked out the window as we were landing, and I said, “F*ck this, I’m learning drums.” I started drum lessons soon after that. Playing drums just seemed like a good antidote to the stupid life I was leading. Little did I know what a major decision that was.\u003c/p>\u003c/blockquote>\n\u003cp>Mitchell and Simmans started Frightwig in 1982, and Kuhn was an early fan who helped the band out as a roadie, including setting up the drum kit and transporting it to shows. Before long, Kuhn took her rightful place behind the kit and became the band’s drummer.\u003c/p>\n\u003cp>Tall, with big blonde hair and a penchant for wearing boxer shorts and Converse high tops, Kuhn was frequently described as being “intimidating” on stage, which Simmans credits to her physicality and “fierceness.” She was also a musical triple threat, bringing drum and guitar skills to the band, as well as a beautiful singing voice.\u003c/p>\n\u003cp>“She was by far the best singer out of all of us,” Simmans said. \u003c/p>\n\u003cp>But according to Kuhn, other musicians she played with outside of Frightwig rarely complimented her other than saying, “You play well for a girl.”\u003c/p>\n\u003cp>“Meaning, I didn’t play better than any of the guys,” Kuhn would say years later. “There seems to be an automatic comparison or competition going on, and some people feel like it’s real important that I understand my place in the hierarchy.”\u003c/p>\n\u003cfigure id=\"attachment_13187797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg\" alt=\"Cecilia Kuhn in 1985\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13187797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1920x1247.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cecilia-Bobby-Castro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Kuhn in 1985. \u003ccite>(Bobby Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Frightwig was beloved by bands such as the Butthole Surfers and Flipper, the audiences they faced were frequently hostile. Crowds often spat on the band and catcalled the band members. \u003c/p>\n\u003cp>“They were all bro dudes — bro-douches. I’m sure they all grew out of it, but at the time, when the hardcore scene came in, they did not know what to do with us,” Simmons said. \u003c/p>\n\u003cp>Frightwig went on to release two celebrated albums — \u003ci>Cat Farm Faboo\u003c/i> and \u003ci>Faster, Frightwig, KILL! KILL!\u003c/i> — and several EPs. In tours of the United States and Europe, they inspired women everywhere they played to pick up instruments. \u003c/p>\n\u003cp>“On June 6, 1985, I went to the Gorilla Gardens in Seattle to see GBH. The band that opened was Frightwig. 4 women from San Francisco playing noise rock and giving absolutely ZERO f*cks about the guys with liberty spikes shouting at them after every song. I bought their record \u003cem>Cat Farm Faboo\u003c/em> and listened to it every single day for the rest of that summer,” Hole drummer Patty Schemel wrote on Facebook.\u003c/p>\n\u003cp>“Seeing Frightwig as a teenage punk rocker was one of my very early introductions to feminism. They were hugely influential on the late 80’s/early 90s punk rock feminist scene that happened here, and Cecilia, in particular, was an inspiration to me personally. As a drummer, singer, songwriter, and performer, she was completely amazing and awe-inspiring,” Bikini Kill drummer \u003ca href=\"https://www.facebook.com/photo.php?fbid=10209033877060292&set=a.3427726968116.2128910.1118564129\" target=\"_blank\" rel=\"noopener\">Tobi Vail wrote\u003c/a>. \u003c/p>\n\u003cp>Kuhn left Frightwig a few years before the band broke up in 1994. When the band was asked to reunite for the Punk Rock Reunion back in 2012, Kuhn resisted at first, but jumped right back in. At the time, she lived and worked for a county outside of Sacramento, and she’d drive four hours to practice with the band on weekends.\u003c/p>\n\u003cp>“She loved playing. She would come from her county clerk job in her old lady clothes, put on black jeans and rock it so hard,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that before the reunited band’s big show opening for Faith No More in 2015, Kuhn started showing signs of illness, but it didn’t stop her from fulfilling her band duties. \u003c/p>\n\u003cp>“Back in January of 2015, when we starting rehearsing for the Faith No More show, she was ill then and was losing weight. By that April she had lost so much weight,” Mitchell said.\u003c/p>\n\u003cp>Mitchell said that Kuhn was a private person and asked that her diagnosis not be shared with the public. But her illness shocked the band, who saw her as the pinnacle of health. While the band partied hard during the ’80s, she stayed in control and never picked up a drug habit. She was also a dedicated vegan who spent many hours during their later tours looking for vegan restaurants in the towns they played.\u003c/p>\n\u003cp>“I remember her writing us and saying something like ‘What happened to me is no one’s fault. God isn’t punishing me, I didn’t do anything to deserve this. It just happened,'” Mitchell wrote.\u003c/p>\n\u003cp>Mitchell said that the band is working with Kuhn’s coven — she was a dedicated pagan — on a celebration of her life. The event will be private, and planned for Father’s Day.\u003c/p>\n\u003cp>“We’re going to smash the patriarchy one last time,” Mitchell said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch Kuhn sing “My Crotch Does Not Say Go” in 2013.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a wildfire in the Great Smoky Mountains region of her native Tennessee late last year which left hundreds homeless, country legend Dolly Parton \u003ca href=\"https://www.nytimes.com/2016/12/01/us/dolly-parton-tennessee-fires.html\" target=\"_blank\" rel=\"noopener\">immediately launched\u003c/a> the My People Fund, promising to give displaced families a $1,000-per-month stipend sourced from outside donations and Parton’s own foundation. As of last Friday (May 5), the last of the checks have been cut — Parton had said from the outset that families would receive six months of support — with a total of $8.9 million having been distributed to the fire victims, according to \u003ca href=\"https://dollyparton.com/life-and-career/dollys-my-people-fund-finishes-smokies-strong/14053\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a>.\u003c/p>\n\u003cp>“We started the distribution in December right around the longest night of the year,” writes Parton, “and I know it felt dark and lonely for so many. But here we are in spring, a time for renewal and a time for hope. I know the money helps but most of all I want people to know we will always provide you a shoulder to lean on.”\u003c/p>\n\u003cp>Parton’s My People Fund also announced a partnership with the \u003ca href=\"http://www.mountaintough.org/\" target=\"_blank\" rel=\"noopener\">Mountain Tough Recovery Team\u003c/a> to provide an additional $3 million in support over the coming months. Additionally the Wildfire Scholarship Fund, separate from My People, will provide $4,500 scholarships to all junior and senior high school students who lost their homes to the fire.\u003c/p>\n\u003cp>“We want to provide a hand up to all those families that have lost everything in the fires,” Parton said in \u003ca href=\"https://dollyparton.com/latest-news/page/5/\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> urging support posted immediately after the fires. An update posted to her website in mid-December said the Fund had raised over $9 million following a telethon hosted by Parton which featured Kenny Rogers, Chris Stapleton and Cyndi Lauper. Four days later she announced “hundreds” of checks had \u003ca href=\"https://dollyparton.com/dollywood-foundation/dollywood-foundation-distributes-my-people-fund-checks/13400\" target=\"_blank\" rel=\"noopener\">been distributed\u003c/a>.\u003c/p>\n\u003cp>Donations continued to arrive through January and February. In a meeting of the Pigeon Forge Hospitality Association, Dollywood Foundation president David Dotson said the fund was currently issuing 921 families monthly checks as of early March, according to the \u003cem>\u003ca href=\"http://www.knoxnews.com/story/money/business/2017/03/09/dollys-my-people-fund-issues-checks-921-sevier-county-wildfire-victims/98947324/\" target=\"_blank\" rel=\"noopener\">Knoxville News Sentinel\u003c/a>\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dolly+Parton+Provides+Fire+Victims+%27Shoulder+To+Lean+On%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of people roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating a hit musical which appeals to family audiences is kind of Broadway’s holy grail — think current long-running shows, like \u003cem>The Lion King\u003c/em> and \u003cem>Wicked,\u003c/em> which have run for decades\u003cem>, \u003c/em>or earlier shows like \u003cem>Cats\u003c/em> and \u003cem>Annie\u003c/em>. Critics don’t always give these shows good reviews, but that doesn’t seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.\u003c/p>\n\u003cp>On a recent Friday evening families poured onto 46th Street after a performance of \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Charlie and the Chocolate Factory\u003c/a>. Taylor Ponte, a tween from Manhattan, offered her thoughts: “I liked it a lot. And I liked the part where she blew up like a balloon. I liked all of it.”\u003c/p>\n\u003cp>This kind of reaction is why Warner Bros., which is producing the show, brought it to Broadway. The adaptation of Roald Dahl’s beloved children’s book could be something of a golden ticket for them — creating a hit which runs for years, goes on tours in the U.S. and overseas, and sells tons of merchandise. But some of the critics \u003ca href=\"http://www.hollywoodreporter.com/review/charlie-chocolate-factory-theater-996618\" target=\"_blank\" rel=\"noopener\">weren’t impressed\u003c/a>.\u003c/p>\n\u003cp>“I loathed the show,” says David Rooney, chief theater critic for \u003cem>The Hollywood Reporter\u003c/em>. “I thought it was a complete mess.”\u003c/p>\n\u003cp>Family musicals have been big business on Broadway, ever since Disney presented a stage adaptation of \u003cem>Beauty and the Beast\u003c/em> in 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of people roll their eyes about what Disney does on Broadway,” says Rooney. “But I think for the most part they do it very well.”\u003c/p>\n\u003cp>Disney shows like \u003cem>The Lion King\u003c/em> and \u003cem>Aladdin \u003c/em>give audiences a lot of bang for their buck.\u003c/p>\n\u003cp>“I think a family buying Broadway tickets want to see what they’re spending their money on,” Rooney explains. “They want to see a production that has energy and that has spectacle and that will dazzle the kids and I think Disney knows how to do that. They work hard at doing that. And I would imagine that \u003cem>Frozen\u003c/em> is going to be along those lines.”\u003c/p>\n\u003cp>\u003cem>Frozen\u003c/em> doesn’t open until next spring, but this spring, \u003cem>Charlie and the Chocolate Factory\u003c/em> is duking it out with a stage adaptation of \u003cem>Anastasia\u003c/em>, the 1997 Fox animated film — Rooney gave that one \u003ca href=\"http://www.hollywoodreporter.com/review/anastasia-theater-review-996856\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>There’s a real fluid cinematic feel to it, but the material is what it is,” he says. “It’s kind of clunky. It’s kind of old fashioned. It’s a little bit kitsch.”\u003c/p>\n\u003cp>But it’s been selling out, so it could be critic-proof — and Rooney admits it. When he saw \u003ca href=\"http://www.charlieonbroadway.com/\" target=\"_blank\" rel=\"noopener\">Anastasia\u003c/a>\u003cem>,\u003c/em> the girls in the audience responded — loudly — to many moments.\u003c/p>\n\u003cfigure id=\"attachment_13186599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-800x531.jpg\" alt=\"'Charlie and the Chocolate Factory' has already announced plans for a national tour\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13186599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/photos-by-joan-marcus-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Charlie and the Chocolate Factory’ has already announced plans for a national tour \u003ccite>(Joan Marcus/Polk & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And kids seem to like \u003cem>Charlie and the Chocolate Factory,\u003c/em> too. That show has a \u003cem>mostly\u003c/em> new score by the songwriting team of Scott Wittman and Marc Shaiman, who wrote the successful musical \u003cem>Hairspray\u003c/em>. They say adapting a film musical that people grew up with has its own set of expectations.\u003c/p>\n\u003cp>Shaiman says when he and Wittman told friends they were writing the score to a new version of \u003cem>Charlie and the Chocolate Factory\u003c/em> those friends would inevitably start singing favorite songs from the 1971 Gene Wilder film \u003cem>Willy Wonka & the Chocolate Factory.\u003c/em>\u003c/p>\n\u003cp>When \u003cem>Charlie\u003c/em> debuted in London it featured the song “Pure Imagination,” from the 1971 film. For the heavily-revised Broadway version, other songs have also been added. Jack O’Brien, the show’s new director, says he used “Pure Imagination” as a kind of mantra, for the less extravagant Broadway production.\u003c/p>\n\u003cp>“I think that we’ve embraced a different theme here,” O’Brien explains. “Which is the idea of imagination. Charlie and Grandpa Joe talk about, you know, we both make something out of nothing. That really attracted me to this version of the story.”\u003c/p>\n\u003cp>\u003cem>Charlie and the Chocolate Factory\u003c/em> has been doing bang-up business, too. It’s the kids — and the parents who pay for the tickets — who will ultimately decide if \u003cem>Anastasia\u003c/em> and \u003cem>Charlie and the Chocolate Factory \u003c/em>have long healthy runs. Eileen Young, from Fairfield, Conn., brought her 7-year-old daughter and a friend.\u003c/p>\n\u003cp>“It’s \u003cem>Charlie and the Chocolate Factory! \u003c/em>How do you \u003cem>not\u003c/em> come?” Young says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Warner Bros. is so confident in the show’s appeal to family audiences, that they’ve already announced \u003cem>Charlie and the Chocolate Factory\u003c/em>‘s national tour. \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=When+It+Comes+To+Family+Musicals%2C+Kids%27+Opinions+Matter+More+Than+Critics%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nicki Minaj is putting some fans on scholarship.\u003c/p>\n\u003cp>After a fan asked the hip-hop star if she would pay his college tuition on Twitter on Saturday night, Minaj agreed to pay fans’ school costs — on the condition that they show her perfect marks. She wrote , “Show me straight A’s that I can verify w/ur school and I’ll pay it.”\u003c/p>\n\u003cp>A few dozen fans took Minaj up on the offer, posting screenshots of their grades. Minaj replied individually to some throughout the night and agreed to pay other things like book costs and student loans.\u003c/p>\n\u003cp>Minaj wrapped up the contest after a few hours, but she promised to do it again in a month or two.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicki Minaj is putting some fans on scholarship.\u003c/p>\n\u003cp>After a fan asked the hip-hop star if she would pay his college tuition on Twitter on Saturday night, Minaj agreed to pay fans’ school costs — on the condition that they show her perfect marks. She wrote , “Show me straight A’s that I can verify w/ur school and I’ll pay it.”\u003c/p>\n\u003cp>A few dozen fans took Minaj up on the offer, posting screenshots of their grades. Minaj replied individually to some throughout the night and agreed to pay other things like book costs and student loans.\u003c/p>\n\u003cp>Minaj wrapped up the contest after a few hours, but she promised to do it again in a month or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-secret-sauce-behind-8-grammy-blues-nominees-is-a-big-norwegian",
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"content": "\u003cp>The 38th Annual \u003ca href=\"https://blues.org/2017-bma-nominees/\" target=\"_blank\" rel=\"noopener noreferrer\">Blues Music Awards\u003c/a>, coming up on May 11, 2017, are held in Memphis, Tenn. A funny fact, though, ties the event to the San Francisco Bay Area: Eight nominees are directly linked to a hefty, chain-smoking Norwegian from San Jose.\u003c/p>\n\u003cp>Christoffer Andersen — or “Kid” Andersen, as the powerhouse producer, arranger, composer and musician is better known — first made his name on the Bay Area blues scene as a guitar player. He’s also nominated for Best Instrumentalist – Guitar this year.\u003c/p>\n\u003cp>Here he is performing “Never Trust a Woman” with\u003ca href=\"http://rickestrin.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Rick Estrin & The Nightcats\u003c/a>.\u003cbr>\n[youtube https://www.youtube.com/watch?v=RjdaBBxa5Cc]\u003c/p>\n\u003cp>“It sounded mysterious, dark, and magical, and you didn’t really know what was going on,” says Andersen of his early attraction to the art form. “It was murky!”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anderson comes from Herre, a tiny coastal town in Norway. Seeking a less stuffy music scene, he moved to the Bay Area when he was 21 upon the invitation of Bay Area band leader, \u003ca href=\"https://www.terryhanck.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Hanck\u003c/a>.\u003c/p>\n\u003cp>Andersen played for a handful of bands and recorded around before deciding he should \u003cem>produce\u003c/em> albums, too. “It was frustrating for me to work with engineers and studio owners who didn’t have a love for the kind of music I did,” Andersen says. “At some point, I realized the longer it takes me to get this guy to do what I want him to do, the more money he makes, ’cause he’s getting paid by the hour. I figured ‘Screw that. I’m going to figure out how to do it myself!'”\u003c/p>\n\u003cfigure id=\"attachment_13148920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg\" alt=\"One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, at 37, Andersen operates out of a sun-baked house in San Jose he’s dubbed \u003ca href=\"https://www.facebook.com/Greaseland/\" target=\"_blank\" rel=\"noopener noreferrer\">Greaseland Studios\u003c/a>. It’s a play on Elvis Presley’s “Graceland,” but way less fancy. The space is crammed from the front door to the back with musical instruments, most of which he can play himself.\u003c/p>\n\u003cp>There’s a grand piano in the kitchen, along with a harpsichord and a sitar. The laundry room doubles as a vocal booth. The living room is crammed with keyboards, drums, and roughly 50 guitars. Andersen jokes that he and his wife, singer \u003ca class=\"mw-redirect\" title=\"Lisa Leuschner\" href=\"http://ew.com/article/2006/03/03/underrated-american-idol-contestants-lisa-leuschner/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Leuschner\u003c/a>, are living inside a music store from 1972.\u003c/p>\n\u003cfigure id=\"attachment_13148921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg\" alt=\"Who in their right mind would cook a tomato-based pasta sauce next to these instruments?\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who in their right mind would cook next to these instruments? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andersen’s lost count, but he figures he’s produced something like 100 albums to date, including \u003cem>My Blue Soul\u003c/em>, the album that got Oakland vocalist \u003ca href=\"https://www.facebook.com/singerterrieodabi/\" target=\"_blank\" rel=\"noopener noreferrer\">Terrie Odabi\u003c/a> Blues Award nominations for Best Female Soul Blues Artist and Best Emerging Artist this year.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/05/KidAnderson170508web.mp3\" title=\"The South Bay Phenom Behind Eight Blues Music Award Nominees\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Into-The-Mix-Kid-Anderson.jpg\"]\u003c/p>\n\u003cp>“When I decided I wanted to record, the first person I thought about producing my album was Kid Andersen,” Odabi says. So the two met to talk about the project over a plate of meatballs and french bread. “By the time we finished, we had a deal.”\u003c/p>\n\u003cp>Odabi acknowledges it’s a little odd that a “kooky” white guy from Scandinavia with a mop of corn-yellow blond hair should be so devoted to a music genre rooted in the African-American experience. But Odabi says she respects Anderson’s work immensely. “Regardless of whether he’s from Norway or he’s white or whatever, Kid throws down!” she says. “He’s amazing!”\u003c/p>\n\u003cfigure id=\"attachment_13148925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg\" alt='Kid Andersen has recorded several albums for the Little Village Foundation, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. \"There’s things I want to do for my heart where there’s no money involved,\" says Andersen. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Andersen has produced several albums for the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Village Foundation\u003c/a>, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. “There’s things I want to do for my heart where there’s no money involved,” says Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aki Kumar, an Indian-born, Silicon Valley harmonica player and rising star in the Bay Area blues world, has co-produced all three of his albums with Andersen. The two perform live together on occasion. “He’s a big presence, physically and musically,” Kumar says of Andersen.\u003c/p>\n\u003cp>Kumar calls Greaseland Studios a “one-stop shop for awesomeness.” Andersen, he says, offers everything a recording blues musician could want in his San Jose digs. “You walk in there, and [Andersen will] give you guidance on arrangements, record all of it in an excellent way, and put it together for you,” Kumar says. “That’s what he brings.”\u003c/p>\n\u003cp>It’s been years since Andersen produced an album of his own compositions. But he’s still helping to keep the blues flame lit with his producing and arranging skills. “I’m happy with that,” he says, chuckling.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch KQED Arts’ video report on Andersen below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qbQrGuK8cbc\u003c/p>\n\n",
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"title": "The South Bay Phenom Behind Eight Blues Music Award Nominees | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 38th Annual \u003ca href=\"https://blues.org/2017-bma-nominees/\" target=\"_blank\" rel=\"noopener noreferrer\">Blues Music Awards\u003c/a>, coming up on May 11, 2017, are held in Memphis, Tenn. A funny fact, though, ties the event to the San Francisco Bay Area: Eight nominees are directly linked to a hefty, chain-smoking Norwegian from San Jose.\u003c/p>\n\u003cp>Christoffer Andersen — or “Kid” Andersen, as the powerhouse producer, arranger, composer and musician is better known — first made his name on the Bay Area blues scene as a guitar player. He’s also nominated for Best Instrumentalist – Guitar this year.\u003c/p>\n\u003cp>Here he is performing “Never Trust a Woman” with\u003ca href=\"http://rickestrin.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Rick Estrin & The Nightcats\u003c/a>.\u003cbr>\n\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/RjdaBBxa5Cc'\n title='//www.youtube.com/embed/RjdaBBxa5Cc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It sounded mysterious, dark, and magical, and you didn’t really know what was going on,” says Andersen of his early attraction to the art form. “It was murky!”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anderson comes from Herre, a tiny coastal town in Norway. Seeking a less stuffy music scene, he moved to the Bay Area when he was 21 upon the invitation of Bay Area band leader, \u003ca href=\"https://www.terryhanck.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Hanck\u003c/a>.\u003c/p>\n\u003cp>Andersen played for a handful of bands and recorded around before deciding he should \u003cem>produce\u003c/em> albums, too. “It was frustrating for me to work with engineers and studio owners who didn’t have a love for the kind of music I did,” Andersen says. “At some point, I realized the longer it takes me to get this guy to do what I want him to do, the more money he makes, ’cause he’s getting paid by the hour. I figured ‘Screw that. I’m going to figure out how to do it myself!'”\u003c/p>\n\u003cfigure id=\"attachment_13148920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg\" alt=\"One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25125_Photo-Sep-19-2-11-16-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the less cluttered corners of Greaseland Studios, the home studio of blues musician and producer Kid Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, at 37, Andersen operates out of a sun-baked house in San Jose he’s dubbed \u003ca href=\"https://www.facebook.com/Greaseland/\" target=\"_blank\" rel=\"noopener noreferrer\">Greaseland Studios\u003c/a>. It’s a play on Elvis Presley’s “Graceland,” but way less fancy. The space is crammed from the front door to the back with musical instruments, most of which he can play himself.\u003c/p>\n\u003cp>There’s a grand piano in the kitchen, along with a harpsichord and a sitar. The laundry room doubles as a vocal booth. The living room is crammed with keyboards, drums, and roughly 50 guitars. Andersen jokes that he and his wife, singer \u003ca class=\"mw-redirect\" title=\"Lisa Leuschner\" href=\"http://ew.com/article/2006/03/03/underrated-american-idol-contestants-lisa-leuschner/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Leuschner\u003c/a>, are living inside a music store from 1972.\u003c/p>\n\u003cfigure id=\"attachment_13148921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg\" alt=\"Who in their right mind would cook a tomato-based pasta sauce next to these instruments?\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1020x588.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-1180x680.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25126_Photo-Sep-19-2-12-45-PM-001-qut-520x300.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who in their right mind would cook next to these instruments? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andersen’s lost count, but he figures he’s produced something like 100 albums to date, including \u003cem>My Blue Soul\u003c/em>, the album that got Oakland vocalist \u003ca href=\"https://www.facebook.com/singerterrieodabi/\" target=\"_blank\" rel=\"noopener noreferrer\">Terrie Odabi\u003c/a> Blues Award nominations for Best Female Soul Blues Artist and Best Emerging Artist this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I decided I wanted to record, the first person I thought about producing my album was Kid Andersen,” Odabi says. So the two met to talk about the project over a plate of meatballs and french bread. “By the time we finished, we had a deal.”\u003c/p>\n\u003cp>Odabi acknowledges it’s a little odd that a “kooky” white guy from Scandinavia with a mop of corn-yellow blond hair should be so devoted to a music genre rooted in the African-American experience. But Odabi says she respects Anderson’s work immensely. “Regardless of whether he’s from Norway or he’s white or whatever, Kid throws down!” she says. “He’s amazing!”\u003c/p>\n\u003cfigure id=\"attachment_13148925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13148925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg\" alt='Kid Andersen has recorded several albums for the Little Village Foundation, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. \"There’s things I want to do for my heart where there’s no money involved,\" says Andersen. ' width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25131_Photo-Sep-19-2-14-22-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kid Andersen has produced several albums for the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Village Foundation\u003c/a>, a non-profit label that records for free people identified as community treasures in folk, bluegrass and blues music. Artists receive all proceeds from the sales. “There’s things I want to do for my heart where there’s no money involved,” says Andersen. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aki Kumar, an Indian-born, Silicon Valley harmonica player and rising star in the Bay Area blues world, has co-produced all three of his albums with Andersen. The two perform live together on occasion. “He’s a big presence, physically and musically,” Kumar says of Andersen.\u003c/p>\n\u003cp>Kumar calls Greaseland Studios a “one-stop shop for awesomeness.” Andersen, he says, offers everything a recording blues musician could want in his San Jose digs. “You walk in there, and [Andersen will] give you guidance on arrangements, record all of it in an excellent way, and put it together for you,” Kumar says. “That’s what he brings.”\u003c/p>\n\u003cp>It’s been years since Andersen produced an album of his own compositions. But he’s still helping to keep the blues flame lit with his producing and arranging skills. “I’m happy with that,” he says, chuckling.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Watch KQED Arts’ video report on Andersen below:\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/qbQrGuK8cbc'\n title='//www.youtube.com/embed/qbQrGuK8cbc'\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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"content": "\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"vaSK9TaTtRXgMsTgxWwaugDD2JUUQQzU\"]\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95MGpzuOjvY\u003c/p>\n\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\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/95MGpzuOjvY'\n title='//www.youtube.com/embed/95MGpzuOjvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "youth-speaks-founder-james-kass-stepping-down-as-executive-director",
"title": "Youth Speaks Founder James Kass Stepping Down as Executive Director",
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"headTitle": "Youth Speaks Founder James Kass Stepping Down as Executive Director | KQED",
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"content": "\u003cp>After 21 years of leading San Francisco’s \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, founder James Kass is stepping down as its executive director at the end of this year.\u003c/p>\n\u003cp>The group, which has outposts in ten countries helping kids find their voices through poetry, announced Thursday it was \u003ca href=\"https://koyapartners.com/search/executive-director-12/\" target=\"_blank\" rel=\"noopener\">searching for Kass’s replacement\u003c/a> to “shepherd the next era of Youth Speaks.”\u003c/p>\n\u003cp>When asked why he was leaving the organization he founded back in 1996, Kass said that he wanted to see how Youth Speaks evolved under new leadership.\u003c/p>\n\u003cp>Also, Kass said, “I’m turning 50. I’m not sure the 26-year-old me that started Youth Speaks would want 50-year-old me to still be running it.”\u003c/p>\n\u003cp>Kass started Youth Speaks after taking graduate-level writing classes at San Francisco State and discovering there was little diversity among his classmates. He also found few programs where children could build an appreciation for writing, so Kass started Youth Speaks. The group initially worked with teenagers at schools and community centers around the Bay Area with their writing, be it essays, fiction or slam poetry. The organization’s slogan was, “Because the next generation can speak for itself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Youth Speaks has always been a place where young people can come in, and through the power of written and spoken word, both forge and publicly present their identity,” Kass said.\u003c/p>\n\u003cfigure id=\"attachment_13162209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13162209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg\" alt=\"Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO's Brave New Voices & Youth Speaks back in 2009 \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO’s Brave New Voices & Youth Speaks back in 2009 \u003ccite>(Photo: Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1999, the organization proved to be so successful, Kass started Youth Speaks NYC (\u003ca href=\"http://youthspeaks.org/bravenewvoices/lc_organizations/urban-word-nyc/\" target=\"_blank\" rel=\"noopener\">now Urban Word NYC).\u003c/a> Kass went on to bring the Youth Speaks model to dozens more writing programs in cities across the US and in other countries. Kass also founded \u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>, which hosts annual slam poetry festivals in the Bay Area and beyond. Those events became the focus of a short-lived series on HBO, including an episode taped at the White House during the Obama Administration.\u003c/p>\n\u003cp>By 2013, Kass had \u003ca href=\"http://www.sfgate.com/visionsf/article/James-Kass-Visionary-of-the-Year-nominee-takes-5982382.php\" target=\"_blank\" rel=\"noopener\">won several awards\u003c/a> for his work and had raised $20 million for his many organizations.\u003c/p>\n\u003cp>“It’s grown way beyond whatever I could have imagined it to be,” Kass said.\u003c/p>\n\u003cp>Kass says he has been planning his exit with the board for the past two and a half years, and that he plans on leaving at the end of the year. Brave New Voices will celebrate its 20th annual show in San Francisco in July, and that festival will be Kass’s last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should come out to see what the future (leaders) of our country [are] talking about,” Kass said. “There’s no better place.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 21 years of leading San Francisco’s \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, founder James Kass is stepping down as its executive director at the end of this year.\u003c/p>\n\u003cp>The group, which has outposts in ten countries helping kids find their voices through poetry, announced Thursday it was \u003ca href=\"https://koyapartners.com/search/executive-director-12/\" target=\"_blank\" rel=\"noopener\">searching for Kass’s replacement\u003c/a> to “shepherd the next era of Youth Speaks.”\u003c/p>\n\u003cp>When asked why he was leaving the organization he founded back in 1996, Kass said that he wanted to see how Youth Speaks evolved under new leadership.\u003c/p>\n\u003cp>Also, Kass said, “I’m turning 50. I’m not sure the 26-year-old me that started Youth Speaks would want 50-year-old me to still be running it.”\u003c/p>\n\u003cp>Kass started Youth Speaks after taking graduate-level writing classes at San Francisco State and discovering there was little diversity among his classmates. He also found few programs where children could build an appreciation for writing, so Kass started Youth Speaks. The group initially worked with teenagers at schools and community centers around the Bay Area with their writing, be it essays, fiction or slam poetry. The organization’s slogan was, “Because the next generation can speak for itself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Youth Speaks has always been a place where young people can come in, and through the power of written and spoken word, both forge and publicly present their identity,” Kass said.\u003c/p>\n\u003cfigure id=\"attachment_13162209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13162209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg\" alt=\"Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO's Brave New Voices & Youth Speaks back in 2009 \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Kass-Redford-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Redford (L) is presented a signed picture from the the Youth Speaks Foundation and James Kass (R) at the Private Reception for the Premiere of HBO’s Brave New Voices & Youth Speaks back in 2009 \u003ccite>(Photo: Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1999, the organization proved to be so successful, Kass started Youth Speaks NYC (\u003ca href=\"http://youthspeaks.org/bravenewvoices/lc_organizations/urban-word-nyc/\" target=\"_blank\" rel=\"noopener\">now Urban Word NYC).\u003c/a> Kass went on to bring the Youth Speaks model to dozens more writing programs in cities across the US and in other countries. Kass also founded \u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>, which hosts annual slam poetry festivals in the Bay Area and beyond. Those events became the focus of a short-lived series on HBO, including an episode taped at the White House during the Obama Administration.\u003c/p>\n\u003cp>By 2013, Kass had \u003ca href=\"http://www.sfgate.com/visionsf/article/James-Kass-Visionary-of-the-Year-nominee-takes-5982382.php\" target=\"_blank\" rel=\"noopener\">won several awards\u003c/a> for his work and had raised $20 million for his many organizations.\u003c/p>\n\u003cp>“It’s grown way beyond whatever I could have imagined it to be,” Kass said.\u003c/p>\n\u003cp>Kass says he has been planning his exit with the board for the past two and a half years, and that he plans on leaving at the end of the year. Brave New Voices will celebrate its 20th annual show in San Francisco in July, and that festival will be Kass’s last.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everyone should come out to see what the future (leaders) of our country [are] talking about,” Kass said. “There’s no better place.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I can’t listen to \u003ca href=\"https://www.facebook.com/meklitmusic/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> without hearing her smile. Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MwDrcvGTODs\u003c/p>\n\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>[ad fullwidth]\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I can’t listen to \u003ca href=\"https://www.facebook.com/meklitmusic/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a> without hearing her smile. Part of this, surely, is having met the singer in person and knowing she does in fact have a radiant smile, but it’s also in her music: a deep, self-possessed joy at the center of her songs, driving them forward along with East African percussion — even if the topics she sings about aren’t all sunshine and butterflies.\u003c/p>\n\u003cp>\u003cem>When the People Move, The Music Moves Too\u003c/em>, Meklit’s fifth studio record, is no exception: featuring the versatile talents of Andrew Bird on two tracks and brass firepower of the Preservation Hall Horns on five, the new full-length is uplifting, feel-it-in-your-gut, and not officially out until June 23. But those of us lucky enough to live in the same place as the Ethiopia-born, Oakland-dwelling musician — and TED Senior Fellow, NBD — have a chance to hear the songs performed live six weeks ahead of time, with her local record release show this Saturday, May 6, at the Rickshaw Stop.\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/MwDrcvGTODs'\n title='//www.youtube.com/embed/MwDrcvGTODs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The powerful presence of drums throughout the record is no accident, Meklit recently \u003ca href=\"http://www.mercurynews.com/2017/05/02/meklit-celebrates-groove-happy-new-album-with-san-francisco-gig/\" target=\"_blank\" rel=\"noopener\">told the \u003cem>San Jose Mercury News\u003c/em>\u003c/a>. It was inspired in part by the \u003ca href=\"http://nileproject.org/\" target=\"_blank\" rel=\"noopener\">Nile Project\u003c/a>, a nonprofit Meklit co-founded that connects musicians from across that vast African region. Performing with that group over the last year or so, says Meklit, “there were actually three percussionists, and that’s like a supercharged engine underneath you.” Add in instruments like the \u003cem>krar\u003c/em>, a traditional Ethiopian harp, and the result is a record that leaps all over the map, genre-wise: there’s jazz, New Orleans funk and soul, and a cool layer of what we’ll call Bay Area air — a little sweet, a little salty, and entirely unconcerned with convention.\u003c/p>\n\u003cp>Oh, and for jazz fans, another reason to smile: Local saxophone legend Howard Wiley will be touring with Meklit for this album’s release. Meanwhile, at the Rickshaw, Afro-soul singer Zakiya Harris serves as main support. Considering it’s is a hometown show, there’s no telling who else might show up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Meklit’s record-release show (with Zakiya Harris and DJ Heylove) takes place at 9pm on Saturday, May 6, at the Rickshaw Stop in San Francisco. \u003ca href=\"http://www.rickshawstop.com/event/1400385-meklit-san-francisco/\" target=\"_blank\" rel=\"noopener\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?list=PL_C6KeCoAO6PG1vIKN0l7qppM-5QUX3Xo&v=-DgIqy7u-GU\u003c/p>\n\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=88_jAJ-MduU\u003c/p>\n\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2cxnzcsHuKM\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qId01X0MxLI\u003c/p>\n\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPPXQTef1hY\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ReW0jJkag8\u003c/p>\n\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"Q.Logo_.Break_-400x39\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"title": "Cy and Gabe's Picks: A Rapper on a Journey, Raining Banjos, and a Farewell | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Gabe Meline share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our entertainment cup spills over this week with stuff we couldn’t quite fit on the show. Smuin Ballet finishes its season with a world premiere by choreographer Trey McIntyre and a piece by the Bay Area’s Amy Siewert — details for the show are \u003ca href=\"http://www.smuinballet.org/buy-tickets-201617-season/dance-series-02/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Also, the brilliant clarinetist \u003ca href=\"https://www.anatcohen.com/\" target=\"_blank\" rel=\"noopener\">Anat Cohen\u003c/a> does a string of shows at \u003ca href=\"https://www.sfjazz.org/events/2016-17/0505/mary-stallings\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, Santa Cruz’s \u003ca href=\"http://kuumbwajazz.ticketfly.com/event/1451110-anat-cohen-trio-brasileiro-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Kuumbwa\u003c/a>, and San Jose’s Cafe Stritch. Details for those shows are \u003ca href=\"https://www.anatcohen.com/schedule/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And now, onto the show.\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/-DgIqy7u-GU'\n title='//www.youtube.com/embed/-DgIqy7u-GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7 – Oct. 29\u003c/strong>: The \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena G\u003c/a>\u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">arden Festival\u003c/a> takes its civic responsibilities seriously, with a terrific lineup of free (\u003cstrong>CHEAP THRILL!\u003c/strong>) Sunday afternoon shows from now till the fall. Arturo O’Farrill and the Afro Latin Jazz Orchestra kicks things off with its danceable rhythms, and look for Kitka Women’s Vocal Ensemble, Michael Doucet and Tom Rigney with Flambeau, Circus Bella, Linda Tillery, AXIS Dance Company and many others in the weeks to come. And looking ahead, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove \u003c/a>opens its free concert season June 25 with Kool and the Gang, and Quinn Deveaux. We are so lucky. Details for the Yerba Buena Garden Festival are \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13160782\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13160782 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg\" alt=\"A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7\" width=\"750\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Wendy-Goldberg-Art-2-e1493928381851-520x364.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A painting by San Anselmo artist Wendy Goldberg, who is showing her work during Marin Open Studios May 6-7 \u003ccite>(Photo: Courtesy of Wendy Goldberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 6 – May 21\u003c/strong>: Two more free events are the Marin and Silicon Valley Open Studios. This is a chance to hang out with some of the best artists in the Bay Area, and as Gabe noted, we’re all excited about farm to table food in the Bay Area. How about artist studio direct to your living room wall. If we want artists to live and thrive in the Bay Area, we’d better be willing to buy their art. Details for Marin Open Studios this weekend are \u003ca href=\"https://marinopenstudios.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Silicon Valley Open Studios is a bit more complicated, with three weekends featuring different towns. Details are \u003ca href=\"http://www.svos.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/88_jAJ-MduU'\n title='//www.youtube.com/embed/88_jAJ-MduU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 7\u003c/strong>: D.C.’s Amir Mohamed el Khalifa is also known as Oddisee, and on his new album, \u003cem>The Iceberg,\u003c/em> he’s rapping over a trio of live musicians that’s got a 50’s Blue Note jazz vibe. Oddisee told SF Weekly he doesn’t like the term “conscious rap,” but it’s the best way to describe his lyrics, which are influenced by Eric B. & Rakim, A Tribe Called Quest and others. His new album’s title is in reference to the phrase “tip of the iceberg” because there’s more there than you can see at first. Gabe compared him to Chance the Rapper, and we both think he’s terrific. Details for Oddisee’s show at the Regency Ballroom in San Francisco are \u003ca href=\"http://www.theregencyballroom.com/events/detail/329546\" target=\"_blank\" rel=\"noopener\">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/2cxnzcsHuKM'\n title='//www.youtube.com/embed/2cxnzcsHuKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 7: \u003c/strong>I’m doing a bit of compare and contrast here for two solo shows. \u003ca href=\"http://www.complicite.org/index.php\" target=\"_blank\" rel=\"noopener\">Simon McBurney\u003c/a> is getting a lot of attention for his one man play, \u003cem>The Encounter,\u003c/em> at the Curran in San Francisco. McBurney brilliantly transports the audience deep into the Amazon jungle on an existential journey with a \u003ca href=\"http://www.nationalgeographic.com/magazine/plus/lost-and-found/amazon-encounter-explorer-photographer/\" target=\"_blank\" rel=\"noopener\">National Geographic photographer \u003c/a>using binaural sound technology that puts his voice right inside the heads of the headphone wearing audience. There’s some great moments early on, and the technology is a wonder, but the storytelling falls a bit flat well before the end, and I was left wondering if the audio gadgetry just gets in McBurney’s way. Its run ends on Sunday. Details \u003ca href=\"https://sfcurran.com/shows/the-encounter\" target=\"_blank\" rel=\"noopener\">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/qId01X0MxLI'\n title='//www.youtube.com/embed/qId01X0MxLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through May 27:\u003c/strong> Meanwhile, across the Bay, \u003ca href=\"https://www.revealnews.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Reveal\u003c/em>\u003c/a> host \u003ca href=\"http://revealradio.org/about/about-the-host/\" target=\"_blank\" rel=\"noopener\">Al Letson\u003c/a> is performing his one man show \u003cem>Summer in Sanctuary\u003c/em>, which is about teaching creative writing to a group of poor, mostly black kids at a summer camp. Letson tells his story with nothing more than a couple of slides, his lyrical poems, and by channeling the kids themselves. Yet Letson takes us far deeper than McBurney does into his story, and he does it with more heart. Details for \u003cem>Summer in Sanctuary\u003c/em> at the Marsh in Berkeley are \u003ca href=\"https://themarsh.org/summer_sanctuary/al-letson-berkeley/\" target=\"_blank\" rel=\"noopener\">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/YPPXQTef1hY'\n title='//www.youtube.com/embed/YPPXQTef1hY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 5\u003c/strong>: If San Francisco’s \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">LGBT Pride Parade\u003c/a> has a soundtrack, a lot of people might assume it’s got a disco beat. But this year, the parade will get a dose of bluegrass twang. \u003ca href=\"https://www.cbaweb.org/\" target=\"_blank\" rel=\"noopener\">The California Bluegrass Association\u003c/a> is sponsoring a float, and there’s a fundraiser on Friday to pay for it. Ted Kuster and fiddle player Brandon Godman (once fired from a bluegrass band because he was gay) talked the association into the effort, despite the fact that some thought the parade is too political. “I’ve always joked,” Godman told me the other day, “that when I came out of the closet I didn’t throw away my Bill Monroe CD’s and replace him with Beyoncé. I grew up listening to fiddle playing on cassette tapes, and I was that geek. And I’ll probably never change. So for me that’s the victory. Dispelling that myth of bluegrass doesn’t fit into a box, LGBTQ doesn’t fit into a box. Stop trying to put people in boxes.” There’s a terrific lineup for this show that includes Kathy Kallick, Laurie Lewis, Tom Rozum, Molly Tuttle Godman (who plays a mean fiddle) and others. As Gabe said, it’s raining banjos. Details \u003ca href=\"http://www.ashkenaz.com/eventcalendar/2017/5/5/bluegrass-pride-featuring-kathy-kallick-molly-tuttle-thompsonia-tom-bekeny-and-more\" target=\"_blank\" rel=\"noopener\">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/7ReW0jJkag8'\n title='//www.youtube.com/embed/7ReW0jJkag8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 9:\u003c/strong> We had just time for Gabe to do a shoutout for \u003ca href=\"http://pjharvey.net/\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a>, who doesn’t tour very often, but is a massive talent. She’s at the Masonic in San Francisco, and Gabe was surprised to find the show hadn’t sold out, so we couldn’t resist featuring it as well. Details for PJ Harvey at the Masonic are \u003ca href=\"http://sfmasonic.com/event/pj-harvey/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13161481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13161481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg\" alt=\"David Wiegand co-hosting a Do List Live event at the Chapel in 2015\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/DoList15-130-e1493933225389.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand co-hosting a Do List Live event at the Chapel in 2015 \u003ccite>(Photo: Courtesy of KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have the sad duty of saying goodbye to my co-host David Wiegand. He’s left the Do List after an amazing run. David, producer \u003ca href=\"http://www.kqed.org/radio/about/staff/suzie-racho.jsp\" target=\"_blank\" rel=\"noopener\">Suzie Racho\u003c/a> and I co-created The Do List nine years ago, and David’s been the rock on which we’ve built this show. He’s always had a keen eye for great art, whether it was challenging as hell, or made us cry, or just brought us joy and laughter. You can still find \u003ca href=\"http://www.sfchronicle.com/author/david-wiegand/\" target=\"_blank\" rel=\"noopener\">David in the Datebook\u003c/a> section of the San Francisco Chronicle. That being said — David, thanks a lot for all the good radio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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