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"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. A new one is posted each week.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rockyrivera.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, a rapper, teacher and San Francisco native, has been making “conscious” music since before most of her students were born.\u003c/p>\n\u003cp>A former music journalist turned musician, the emcee’s lyrics have never been subtle when it comes to politics — \u003ca href=\"https://ww2.kqed.org/pop/2016/06/14/watch-the-music-video-for-oakland-mc-rocky-riveras-feminist-anthem-turn-you/\" target=\"_blank\" rel=\"noopener\">her 2016 song “Turn You,”\u003c/a> for example, is a straight-up feminist-conversion hip-hop manifesto. But after the election, says Rivera, it felt more important than ever to create music that moved people to act.\u003c/p>\n\u003cp>“Round We Go,” a collaboration with friend and frequent co-writer DJ Roza, is the result. The track came out of a retreat that the pair’s label, Beatrock, held over the holiday break. “The political mood was so somber regarding the new administration, but us artists, we were excited,” says the emcee, whose real name is Krishtine de Leon. “Beatrock Music has been making what most people call ‘political’ music since before Obama came into office, but it was relevant now more than ever.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303585807″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>With only enough time for one recording session, Rocky and Roza took an instrumental loop Roza had cut and arranged from Solange’s “Where Do We Go,” from the album \u003cem>A Seat at the Table\u003c/em>, and rapped over it. The lyrics, Rocky says, are a continuation of and response to the question Solange asked: Where \u003cem>do\u003c/em> we go from here?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I answer it in my first verse,” Rocky says. “Rap music is an entry point, but not an action. We are far beyond ‘spreading awareness’ on an issue through music — we need to organize. We need to get off Facebook and engage each other IRL, including our racist family members.”\u003c/p>\n\u003cfigure id=\"attachment_13079560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg\" alt=\"Rocky and DJ Roza \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rocky and DJ Roza \u003ccite>(Fred Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per the song’s lyrics:\u003c/p>\n\u003cp>\u003cem>Now that Obama’s gone\u003cbr>\nThese racists feelin safe again\u003cbr>\nNow we got a “pussy grabber”\u003cbr>\nAs our President\u003cbr>\nIt’s hard to stop myself\u003cbr>\nFrom tellin y’all I told u so\u003cbr>\nInstead I put in the music\u003cbr>\nSo dissent can grow\u003c/em>\u003c/p>\n\u003cp>As for that growing dissent part: the emcee’s longtime career as a public school teacher in Oakland is, she says, far more than a day job. (She currently works at two high schools, Oakland Tech and Oakland High, and she’s also managed afterschool programs at McClymonds, Castlemont and in Fremont for the past five years.)\u003c/p>\n\u003cp>“I choose to work with high school youth because as a female emcee, I know that the industry has put an expiration date on me,” she says. “I know that it limits me purposely and disregards my contributions, much like how women are disregarded in many other vocations.”\u003c/p>\n\u003cp>The song’s lyrics end with a nod to the future, says the rapper, because she wanted to end on a positive note — and with a reminder that our elders have seen this before.\u003c/p>\n\u003cp>\u003cem>So I call upon the strength\u003cbr>\nOf generations past\u003cbr>\nSo they can guide our way\u003cbr>\nIlluminate a path\u003cbr>\nWe got it better now…than we ever have\u003cbr>\nIt time to finish what they started\u003cbr>\nWhere my soldiers at?\u003c/em>\u003c/p>\n\u003cp>DJ Roza and Rocky went on to create an entire mixtape, \u003cem>Winter In America\u003c/em>, around similar themes — Rivera calls it “one of her best yet.”\u003c/p>\n\u003cp>“It’s like salve on a million tiny paper cuts that you get reading the news every day,” says the emcee. “People have called my music ‘medicinal’ before, and I wanted to keep dishing them the antidote. My folks need healing now more than ever, so I believe I straddle the lines between writer, artist, healer and educator, all with the intent to keep each other and ourselves accountable to the harm that is happening around us and within us.\u003c/p>\n\u003cp>“The political is personal,” she says. Of course, “women know this from the moment we are born.”\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=\"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>Rocky Rivera is working on a book and album to celebrate her 10-year anniversary in hip-hop. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I answer it in my first verse,” Rocky says. “Rap music is an entry point, but not an action. We are far beyond ‘spreading awareness’ on an issue through music — we need to organize. We need to get off Facebook and engage each other IRL, including our racist family members.”\u003c/p>\n\u003cfigure id=\"attachment_13079560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg\" alt=\"Rocky and DJ Roza \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rocky and DJ Roza \u003ccite>(Fred Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per the song’s lyrics:\u003c/p>\n\u003cp>\u003cem>Now that Obama’s gone\u003cbr>\nThese racists feelin safe again\u003cbr>\nNow we got a “pussy grabber”\u003cbr>\nAs our President\u003cbr>\nIt’s hard to stop myself\u003cbr>\nFrom tellin y’all I told u so\u003cbr>\nInstead I put in the music\u003cbr>\nSo dissent can grow\u003c/em>\u003c/p>\n\u003cp>As for that growing dissent part: the emcee’s longtime career as a public school teacher in Oakland is, she says, far more than a day job. (She currently works at two high schools, Oakland Tech and Oakland High, and she’s also managed afterschool programs at McClymonds, Castlemont and in Fremont for the past five years.)\u003c/p>\n\u003cp>“I choose to work with high school youth because as a female emcee, I know that the industry has put an expiration date on me,” she says. “I know that it limits me purposely and disregards my contributions, much like how women are disregarded in many other vocations.”\u003c/p>\n\u003cp>The song’s lyrics end with a nod to the future, says the rapper, because she wanted to end on a positive note — and with a reminder that our elders have seen this before.\u003c/p>\n\u003cp>\u003cem>So I call upon the strength\u003cbr>\nOf generations past\u003cbr>\nSo they can guide our way\u003cbr>\nIlluminate a path\u003cbr>\nWe got it better now…than we ever have\u003cbr>\nIt time to finish what they started\u003cbr>\nWhere my soldiers at?\u003c/em>\u003c/p>\n\u003cp>DJ Roza and Rocky went on to create an entire mixtape, \u003cem>Winter In America\u003c/em>, around similar themes — Rivera calls it “one of her best yet.”\u003c/p>\n\u003cp>“It’s like salve on a million tiny paper cuts that you get reading the news every day,” says the emcee. “People have called my music ‘medicinal’ before, and I wanted to keep dishing them the antidote. My folks need healing now more than ever, so I believe I straddle the lines between writer, artist, healer and educator, all with the intent to keep each other and ourselves accountable to the harm that is happening around us and within us.\u003c/p>\n\u003cp>“The political is personal,” she says. Of course, “women know this from the moment we are born.”\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=\"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>Rocky Rivera is working on a book and album to celebrate her 10-year anniversary in hip-hop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>April 20–23:\u003c/strong> It’s almost saxophonist Joe Henderson’s birthday. He died here in San Francisco in 2001, but he would have been 80 years old on April 24. No one played with more grace and expression than Henderson. His solo version of Billy Strayhorn’s “Lush Life” from the album with the same title is both ornate and restrained, and nicely captures that song’s quality of debonair despair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A0z7TS4cl5g\u003c/p>\n\u003cp>SFJAZZ has always celebrated Henderson’s importance to the Bay Area, naming its small front-of-the-house venue the Joe Henderson Lab. And this week a quartet of Bay Area saxophonists are offering fresh takes on four of Henderson’s classic albums. \u003ca href=\"https://daynastephens.net/\" target=\"_blank\" rel=\"noopener\">Dayna Stephens \u003c/a>opens the mini-fest with a recreation of Henderson’s \u003cem>Power to the People\u003c/em> April 20, then \u003ca href=\"http://patrickwolffmusic.com/\" target=\"_blank\" rel=\"noopener\">Patrick Wolff \u003c/a>does \u003cem>Our Thing\u003c/em> April 21. The great \u003ca href=\"https://www.facebook.com/howardwileysax/\" target=\"_blank\" rel=\"noopener\">Howard Wiley\u003c/a> recreates \u003cem>Lush Life\u003c/em> on April 22, and then \u003ca href=\"http://www.madduran.com/\" target=\"_blank\" rel=\"noopener\">Mad Duran\u003c/a> leads a band in Henderson’s 1966 Blue Note session \u003cem>Inner Urge\u003c/em> on Sunday, April 23. You can’t go wrong. More details \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 20–23:\u003c/strong> It’s almost saxophonist Joe Henderson’s birthday. He died here in San Francisco in 2001, but he would have been 80 years old on April 24. No one played with more grace and expression than Henderson. His solo version of Billy Strayhorn’s “Lush Life” from the album with the same title is both ornate and restrained, and nicely captures that song’s quality of debonair despair.\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/A0z7TS4cl5g'\n title='//www.youtube.com/embed/A0z7TS4cl5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SFJAZZ has always celebrated Henderson’s importance to the Bay Area, naming its small front-of-the-house venue the Joe Henderson Lab. And this week a quartet of Bay Area saxophonists are offering fresh takes on four of Henderson’s classic albums. \u003ca href=\"https://daynastephens.net/\" target=\"_blank\" rel=\"noopener\">Dayna Stephens \u003c/a>opens the mini-fest with a recreation of Henderson’s \u003cem>Power to the People\u003c/em> April 20, then \u003ca href=\"http://patrickwolffmusic.com/\" target=\"_blank\" rel=\"noopener\">Patrick Wolff \u003c/a>does \u003cem>Our Thing\u003c/em> April 21. The great \u003ca href=\"https://www.facebook.com/howardwileysax/\" target=\"_blank\" rel=\"noopener\">Howard Wiley\u003c/a> recreates \u003cem>Lush Life\u003c/em> on April 22, and then \u003ca href=\"http://www.madduran.com/\" target=\"_blank\" rel=\"noopener\">Mad Duran\u003c/a> leads a band in Henderson’s 1966 Blue Note session \u003cem>Inner Urge\u003c/em> on Sunday, April 23. You can’t go wrong. More details \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZMW28VttcXw\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/208418262\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/154412337\u003c/p>\n\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OY-Yf3wjqRk\u003c/p>\n\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=neJ0ngA-4Fk\u003c/p>\n\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>It’s a weekend for science and sorcery in San Jose. On the Do List this week, you’ll find details for the Steve Wozniak’s \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>, with its weird mix of Trekkies and techies (maybe not so weird). Then a \u003ca href=\"https://www.facebook.com/events/1346516542073825/\" target=\"_blank\" rel=\"noopener\">contingent of scientists will march at 11am on Saturday at San Jose City Hall \u003c/a>as part of a national movement fighting the suppression of science data under President Trump. And just for fun, there’s the \u003ca href=\"https://www.facebook.com/sofastreetfair/\" target=\"_blank\" rel=\"noopener\">SOFA Street Fair\u003c/a>. Now here’s 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/ZMW28VttcXw'\n title='//www.youtube.com/embed/ZMW28VttcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: The so-talented \u003ca href=\"http://www.aoifeodonovan.com/shows\" target=\"_blank\" rel=\"noopener\">Aoife O’Donovan\u003c/a> (pronounced \u003cem>EE-fuh\u003c/em>) is often a guest on \u003ca href=\"https://www.prairiehome.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Prairie Home Companion\u003c/em>\u003c/a>, so she’s familiar to NPR listeners. Her voice ranges from ethereal to earthy, with a big dose of Celtic folk tradition. She grew up in suburban Newton, Mass., but used to spend summers playing music in Ireland. No matter where in the Bay Area you live, you have a chance to see O’Donovan. She’s touring with — and opening for — the great guitarists \u003ca href=\"http://www.lageeldridge.com/\" target=\"_blank\" rel=\"noopener\">Julian Lage and Chris Eldridge\u003c/a>. They have two shows at Kuumbwa in Santa Cruz April 21 — \u003ca href=\"http://kuumbwajazz.ticketfly.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Then Lage, Eldridge and O’Donovan play a sold out show April 22 at Freight & Salvage in Berkeley — \u003ca href=\"http://www.freightandsalvage.org/release-the-hounds\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And Sunday April 23 they’re at the Mondavi Center in Davis — \u003ca href=\"https://mondavi.ucdavis.edu/event/2016-17/release-the-hounds-lage-eldridge\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 21-30\u003c/strong>: We’ve talked about \u003ca href=\"http://bayareadance.org/kickoff/\" target=\"_blank\" rel=\"noopener\">Bay Dance Week\u003c/a> (really a 10-day event) before. But it’s such a cool festival, a celebration of not just all the amazing professional troupes based in the Bay Area, but also the many tap, ballet, modern, and ethnic dance academies we’re lucky to have. The festivities kick off at noon on Friday, April 21, at San Francisco City Hall, with a dance party and flashmob that anyone can join. (See the instructional video above featuring \u003ca href=\"https://www.rhythmandmotion.com/dudley-flores/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion’s Dudley Flores\u003c/a>), and check out the 100 or so free dance events — cheap thrill alert! — from San Jose (including the sjDANCEco Festival @ Santana Row) to San Rafael. \u003ca href=\"http://bayareadance.org/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 21-22\u003c/strong>: The Colorado River is among the most scenic, the most loved and the most abused of American rivers, as it winds\u003ca href=\"https://www.coloradocollege.edu/other/stateoftherockies/expeditions/source-to-sea.html\" target=\"_blank\" rel=\"noopener\"> from the Wind River Range in Wyoming to where it runs dry from overuse as it approaches Mexico’s Sea of Cortez\u003c/a>. (The Colorado supplies 60 percent of the water used in Southern California, so as a state, we’re are part of the problem.) Now, the director Murat Eyuboglu and producer and composer Paola Prestini have collaborated on \u003ca href=\"http://visionintoart.com/projects/the-colorado/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Colorado\u003c/em>\u003c/a>, a documentary screened with live music. It’s what Prestini calls an eco-cantata, “a piece that is in this cantata form in that it has an overarching narrative,” Prestini told me on the phone, “but at the same time it’s equal parts a cautionary tale about the environment, and a profound musical experience that hopefully involves many different kinds of audiences.”\u003c/p>\n\u003cp>For a show at Stanford, \u003ca href=\"http://www.roomfulofteeth.org/\" target=\"_blank\" rel=\"noopener\">Roomful of Teeth\u003c/a>, cellist \u003ca href=\"http://jzcello.com/\" target=\"_blank\" rel=\"noopener\">Jeffrey Zeigler\u003c/a>, and percussionist \u003ca href=\"http://glennkotche.com/\" target=\"_blank\" rel=\"noopener\">Glenn Kotche\u003c/a> (Wilco) provide the live accompaniment, with gorgeous music composed by Prestini, John Luther Adams, William Brittelle, Glenn Kotche, and Shara Nova. Details for the performance April 21 and 22 at Stanford’s Bing Hall are \u003ca href=\"https://live.stanford.edu/calendar/april-2017/colorado\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Roomful of Teeth is also doing a sold out show at the San Francisco Opera Lab April 23. If you’re lucky you might find a friend with an extra ticket to that show. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/roomful-of-teeth/\" target=\"_blank\" rel=\"noopener\">Details 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/OY-Yf3wjqRk'\n title='//www.youtube.com/embed/OY-Yf3wjqRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 21-23\u003c/strong>: I was nerding out on Doctor Strange and Captain Marvel (and \u003ca href=\"http://www.thedrawingsofsteranko.com/aghp.html\" target=\"_blank\" rel=\"noopener\">Jim Steranko\u003c/a>) way before they were cool. So I’m happy to include Silicon Valley Comic Con on our list this week. David and I aren’t sure why actor John Cusack (\u003cem>Say Anything, High Fidelity\u003c/em>) is there, but you’ll find all the familiar comic con tropes: a costume contest, and appearances by Tom Felton (Draco Malfoy), Grant Gustin (The Flash), Billy Boyd (Pippin), and any number of Star Trek actors. But with Apple co-founder Steve Wozniak producing the show, you’ll also find scientists and engineers making presentations, including researchers from the \u003ca href=\"https://www.seti.org/\" target=\"_blank\" rel=\"noopener\">SETI Institute\u003c/a> (Search for Extraterrestrial Life), space scientists from NASA, and astronaut Buzz Aldrin, a real superhero. \u003ca href=\"http://svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details 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/neJ0ngA-4Fk'\n title='//www.youtube.com/embed/neJ0ngA-4Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 27\u003c/strong>: \u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia \u003c/a> is the Queen of Bounce, a style of hip-hop out of New Orleans. Her life has bounced high and low the past few years: She worked with Beyoncé on the “\u003ca href=\"https://www.youtube.com/watch?v=TYcAosqv23Y\" target=\"_blank\" rel=\"noopener\">Formation” video\u003c/a>, but then she nearly went to jail last year over charges she was illegally using federal housing funds. That hasn’t slowed down \u003ca href=\"http://www.fuse.tv/shows/big-freedia\" target=\"_blank\" rel=\"noopener\">her reality TV show\u003c/a> or her touring schedule. Expect a lot of twerking and a great deal of fun. As David said, we need that right now. \u003ca href=\"http://mezzaninesf.com/events/big-freedia-2/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Peabody Awards are given yearly by the University of Georgia’s Grady College of Journalism and Mass Communication. The ceremony will be held May 20 in New York City at Cipriani Wall Street. \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=Beyonc%C3%A9%2C+Donald+Glover+Among+This+Year%27s+Peabody+Award+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Deliverance' Denied: Judge Stops Release of Posthumous Prince Record",
"headTitle": "‘Deliverance’ Denied: Judge Stops Release of Posthumous Prince Record | KQED",
"content": "\u003cp>United States District Judge Wilhelmina M. Wright has blocked, for now, the release of a Prince EP originally scheduled to drop tomorrow, April 21, on the first anniversary of the singer’s death. Wright yesterday granted Paisley Park Enterprises a temporary restraining order against George Ian Boxill, a recording engineer who worked with Prince around 2006, and who had planned to release the EP from their sessions.\u003c/p>\n\u003cp>Out of nowhere this past Tuesday evening \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/19/524682589/new-music-from-prince-set-for-release-friday-the-subject-of-a-suit-from-his-esta\" target=\"_blank\" rel=\"noopener\">a press release was issued\u003c/a> announcing the \u003cem>Deliverance\u003c/em> EP, saying it would be released by an unknown label called the Rebel Music Alliance. The promotional campaign included a website in support of it (princerogersnelson.com), which has since been taken down. The record’s title track was serviced to radio on Wednesday evening, but has since been removed from iTunes.\u003c/p>\n\u003cp>All of this was in the face of a lawsuit brought last Friday in Minnesota by Paisley Park Enterprises against Boxill. Because Boxill is a California resident the case was transferred to federal court this week.\u003c/p>\n\u003cp>Judge Wright’s decision is wholly in favor of Paisley Park, ordering Boxill to return all Prince recordings back to the estate and to stop disseminating them. The restraining order lifts on May 3. Paisley Park has until April 25 to file its injunction against Boxill, who will then have three days to respond. \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=%27Deliverance%27+Denied%3A+Release+Of+Posthumous+Prince+Record+Stopped+By+Judge&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>United States District Judge Wilhelmina M. Wright has blocked, for now, the release of a Prince EP originally scheduled to drop tomorrow, April 21, on the first anniversary of the singer’s death. Wright yesterday granted Paisley Park Enterprises a temporary restraining order against George Ian Boxill, a recording engineer who worked with Prince around 2006, and who had planned to release the EP from their sessions.\u003c/p>\n\u003cp>Out of nowhere this past Tuesday evening \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/19/524682589/new-music-from-prince-set-for-release-friday-the-subject-of-a-suit-from-his-esta\" target=\"_blank\" rel=\"noopener\">a press release was issued\u003c/a> announcing the \u003cem>Deliverance\u003c/em> EP, saying it would be released by an unknown label called the Rebel Music Alliance. The promotional campaign included a website in support of it (princerogersnelson.com), which has since been taken down. The record’s title track was serviced to radio on Wednesday evening, but has since been removed from iTunes.\u003c/p>\n\u003cp>All of this was in the face of a lawsuit brought last Friday in Minnesota by Paisley Park Enterprises against Boxill. Because Boxill is a California resident the case was transferred to federal court this week.\u003c/p>\n\u003cp>Judge Wright’s decision is wholly in favor of Paisley Park, ordering Boxill to return all Prince recordings back to the estate and to stop disseminating them. The restraining order lifts on May 3. Paisley Park has until April 25 to file its injunction against Boxill, who will then have three days to respond. \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=%27Deliverance%27+Denied%3A+Release+Of+Posthumous+Prince+Record+Stopped+By+Judge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Morton Subotnick on Growing Into His Life as an Electronic Composer",
"headTitle": "Morton Subotnick on Growing Into His Life as an Electronic Composer | KQED",
"content": "\u003cp>\u003cem>Electronic music pioneer Morton Subotnick is a bit of a talker. In an phone interview before his September 2016 lecture at the Oakland Museum of California, the now 84-year-old Subotnick spoke with KQED Arts for over an hour while answering about five questions. In that time Subotnick told several stories about his early start as a professional musician, how he ended up in the Bay Area, and how he helped design the first modular synthesizer with Don Buchla, who \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/don-buchla-influential-synthesizer-designer-dead-at-79/\" target=\"_blank\" rel=\"noopener\">died just days before this interview\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in advance of Subotnick’s headlining slot at the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/19/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on/\" target=\"_blank\" rel=\"noopener\">Don Buchla Memorial Concerts\u003c/a> running April 22–23 at Gray Area Theater, we run those stories in his own words. Interview by Kevin L. Jones; edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I didn’t do much as a kid except music. It was what I did. I practiced the clarinet and I learned music, and started composing at 16 years old while living in Los Angeles, where I grew up.\u003c/p>\n\u003cp>I hated Los Angeles. I mean, I actually didn’t know I hated Los Angeles, I just didn’t fit in anywhere. I was in three or four grammar schools, two junior highs, and two high schools. Since we moved all the time, there were no neighbors that I knew, and after a while, I realized I was never going to have any friends.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My friends were Charles Ives and the music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXD4tIp59L0\u003c/p>\n\u003cp>Getting access to modern music was very difficult. At that time, Bartók, who seems very traditional at this point — 20th century but traditional music — wasn’t allowed to even be played. The most avant-garde thing was 12-tone music from Arnold Schoenberg, and there were so few records around you couldn’t really hear anything. Schoenberg was not considered a composer, but a mathematician. John Cage was almost unheard of.\u003c/p>\n\u003cp>I was mostly learning traditional music, and even in high school I knew that they were leaving everything out. If you took a course in music history, modern music would start and end with Debussy and Ravel. That was it. At this point, it’s hard to even think they’re 20th century composers.\u003c/p>\n\u003cp>I discovered John Cage in 1951, and when I was in high school I discovered Charles Ives. That was a big influence, but there were very few pieces and almost no recordings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Writing music, learning harmony and counterpoint and orchestration and all the things you would traditionally learn, I was learning out of books and occasionally taking a lesson with someone. There were no places to go except to college and I was too young.\u003c/p>\n\u003cp>I didn’t know where I was going with it, I just knew that that’s what I wanted to do. I really wanted to compose. Playing the clarinet was really easy for me and I was very good at it from a young age, so I had opportunities that I wasn’t going to throw away.\u003c/p>\n\u003cp>In high school, I played as a substitute for a couple of clarinetists who would need someone to go to a rehearsal when they’d get called in for studio work. The other musicians would put a group together to perform my music so I could hear it, because those were my peers at the point. Maybe I wasn’t a peer; I was a mascot.\u003c/p>\n\u003cfigure id=\"attachment_13078879\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13078879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MSwClarinet.jpg\" alt=\"Subotnick with clarinet performing 'Passages of the Beast' at The Kitchen in 1979. \" width=\"434\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-375x555.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Subotnick with clarinet performing ‘Passages of the Beast’ at The Kitchen in 1979. \u003ccite>(Photo: Carlo Carnevali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was playing the Mozart clarinet concerto and things like that. I was playing traditional music. New music too, like Stravinsky — that was the new music at the time. What I was writing was sort of in those veins: little bit from Bartok, but mostly from Schoenberg and Charles Ives. A kind of cross between those things. I was learning twelve-tone. Schoenberg lived in Los Angeles and so did Stravinsky, so I went to their concerts when I was in high school.\u003c/p>\n\u003cp>I auditioned for Juilliard the year before I graduated from high school and I was offered a scholarship. Then I was offered a scholarship at the University of Southern California. I went to USC. On the first day of the entrance exams I passed all four years of music, so I majored in English Literature.\u003c/p>\n\u003cp>The school had me playing all the time. They actually paid a little bit of money and I got a scholarship and free housing. I took courses that year, and I discovered a whole world that I hadn’t paid attention to, like literature, and science, and math, and everything that I had never even touched as a kid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I was known by all the musicians, especially the wind players in Los Angeles, and they said “what are you doing at USC? Why don’t you go play in a symphony orchestra?” There was an audition for the Denver Symphony and the conductor was in town. I auditioned and I got a job as a second clarinet, or something, at the Denver Symphony. I was seventeen.\u003c/p>\n\u003cp>I went there and I met Stan Brakhage, who was just getting out of high school. Jim Tenney, who is a composer, experimental composer, he was just getting out of high school too. We ganged up together as a team, I mean, just as friends, and the whole world of avant-garde was opening like mad. Stan ended up doing with film what I would end up doing with electronics and things.\u003c/p>\n\u003cfigure id=\"attachment_13078882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13078882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MSatKitchen-800x536.jpg\" alt=\"Subotnick with Ralph Grierson preparing Liquid Strata for piano and electronic ghost score at The Kitchen in 1979.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Subotnick with Ralph Grierson preparing Liquid Strata for piano and electronic ghost score at The Kitchen in 1979. \u003ccite>(Photo: Carlo Carnevali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I got there to Denver and I was still in undergraduate because I had to go to college to stay out of the war. But I couldn’t matriculate because I was in rehearsals and everything. I took courses but they didn’t add up to a degree. I did a huge amount of literature and poetry. I was getting a huge education but it wasn’t a major in anything, so they finally got me in the army.\u003c/p>\n\u003cp>The next thing I knew, I was drafted into the Korean War and stationed in San Francisco, at the Presidio. We could stay out of battle if we played in a band, the Six Army Band from Los Angeles. Herb Alpert was in the band. It was all young musicians from Los Angeles.\u003c/p>\n\u003cp>I loved San Francisco, so I wanted to stay when I got out. I didn’t have a Bachelor’s degree because I had not finished up anything, but Mills College offered me a fellowship to go there. I would be studying with Darius Milhaud and Leon Kirchner. I can’t tell you how many courses I took. I doubled up on everything. I finished about a year and a half of work in a little more than two quarters of school.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>By 1963, I knew what I wanted. I wanted a new instrument.\u003c/p>\n\u003cp>That was the vision I had in 1959, ’60, ’61, that we’re going to have a new … We’re entering a new period. My analogy was what the printing press was to language and ideas, the new transistor and the new technology would be to music because it was the first time everybody was going to be able to hear music.\u003c/p>\n\u003cp>You couldn’t hear music, which is really hard to understand today. You had to go to a concert to hear music. You had to have someone play. If you wanted to hear an opera on the radio, you could hear the Met and whatever it is that they were doing every Saturday morning. Recordings were not the main thing yet, and they didn’t really become cheap enough. At that point it was clear that everybody would be hearing music and it would be cheap.\u003c/p>\n\u003cfigure id=\"attachment_13078881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13078881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-800x450.jpg\" alt=\"Morton Subotnick performs at New York's La MaMa Experimental Theatre Club in 2004.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick performs at New York’s La MaMa Experimental Theatre Club in 2004. \u003ccite>(Photo: Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the people I knew were afraid that music was going to disappear, symphony orchestras would go down the drain, there would be nothing but machines making music. I didn’t see it that way at all. I wanted to be involved, so I began to think of how to do it. I came up with a plan, put an ad in the paper, and one of the people who came to build it was [Don] Buchla. He and I worked for close to two years on paper, because we didn’t have any money to even buy any parts. I was feeding him music information and saying “what we need is this, what we need is that.” Then he would say, “I think a way to do it would be this. I said “Oh god, that makes me think maybe we could do this, too. Yeah, we could do that.” It was almost two years of this.\u003c/p>\n\u003cp>When it arrived, I was ready to go. I knew what I was going to do with it, and I did it. Literally, I started \u003cem>Silver Apples of the Moon\u003c/em> within a year of starting to work with the instrument. That isn’t to say the [synthesizer] didn’t have a big influence on me at that time, but it wasn’t like “Oh my gosh, look at this? What am I going to do with it?”\u003c/p>\n\u003cfigure id=\"attachment_13078658\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13078658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp.jpg\" alt=\"Original cover for 'Silver Apples of the Moon'\" width=\"550\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Original cover for ‘Silver Apples of the Moon’\u003c/figcaption>\u003c/figure>\n\u003cp>In 1966 I started working on what would become \u003cem>Silver Apples of the Moon\u003c/em>. I was trying to make something with this machine that you couldn’t make with anything else. A new expression as best I could. I knew it was not going to be that new because there’s no way for me to get there, but to start with, I would go beyond anything I’d ever done before without any means, except electronic, but without the keyboards and things.\u003c/p>\n\u003cp>\u003cem>Silver Apples\u003c/em> was made without a black and white keyboard. When I kept being asked, for years after, “What’s wrong with the keyboard?” I said that a keyboard is going to force you to make either old music with a new instrument or new old music. By avoiding the keyboard and all traditional instruments, to work only with the electronics, it would give you more opportunity to create a new music.\u003c/p>\n\u003cp>You have \u003cem>Silver Apples\u003c/em> coming out in the fall of 1967, and \u003cem>Switched-On Bach\u003c/em>, I think, is 1968. A Bach Brandenburg Concerto. That is exactly what one would have expected if you started off with a black and white keyboard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LqMKcvwd67A\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Morton Subotnick performs as part of the Don Buchla Memorial Concerts, which begin Saturday, April 22 and end on Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "In his own words, the pioneering electronic musician behind 'Silver Apples of the Moon' describes his early obsession with music, leading up his own path as a composer.",
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"description": "In his own words, the pioneering electronic musician behind 'Silver Apples of the Moon' describes his early obsession with music, leading up his own path as a composer.",
"title": "Morton Subotnick on Growing Into His Life as an Electronic Composer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Electronic music pioneer Morton Subotnick is a bit of a talker. In an phone interview before his September 2016 lecture at the Oakland Museum of California, the now 84-year-old Subotnick spoke with KQED Arts for over an hour while answering about five questions. In that time Subotnick told several stories about his early start as a professional musician, how he ended up in the Bay Area, and how he helped design the first modular synthesizer with Don Buchla, who \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/don-buchla-influential-synthesizer-designer-dead-at-79/\" target=\"_blank\" rel=\"noopener\">died just days before this interview\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in advance of Subotnick’s headlining slot at the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/19/through-blips-and-beeps-visionary-synth-engineer-don-buchla-lives-on/\" target=\"_blank\" rel=\"noopener\">Don Buchla Memorial Concerts\u003c/a> running April 22–23 at Gray Area Theater, we run those stories in his own words. Interview by Kevin L. Jones; edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I didn’t do much as a kid except music. It was what I did. I practiced the clarinet and I learned music, and started composing at 16 years old while living in Los Angeles, where I grew up.\u003c/p>\n\u003cp>I hated Los Angeles. I mean, I actually didn’t know I hated Los Angeles, I just didn’t fit in anywhere. I was in three or four grammar schools, two junior highs, and two high schools. Since we moved all the time, there were no neighbors that I knew, and after a while, I realized I was never going to have any friends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My friends were Charles Ives and the music.\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/vXD4tIp59L0'\n title='//www.youtube.com/embed/vXD4tIp59L0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting access to modern music was very difficult. At that time, Bartók, who seems very traditional at this point — 20th century but traditional music — wasn’t allowed to even be played. The most avant-garde thing was 12-tone music from Arnold Schoenberg, and there were so few records around you couldn’t really hear anything. Schoenberg was not considered a composer, but a mathematician. John Cage was almost unheard of.\u003c/p>\n\u003cp>I was mostly learning traditional music, and even in high school I knew that they were leaving everything out. If you took a course in music history, modern music would start and end with Debussy and Ravel. That was it. At this point, it’s hard to even think they’re 20th century composers.\u003c/p>\n\u003cp>I discovered John Cage in 1951, and when I was in high school I discovered Charles Ives. That was a big influence, but there were very few pieces and almost no recordings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Writing music, learning harmony and counterpoint and orchestration and all the things you would traditionally learn, I was learning out of books and occasionally taking a lesson with someone. There were no places to go except to college and I was too young.\u003c/p>\n\u003cp>I didn’t know where I was going with it, I just knew that that’s what I wanted to do. I really wanted to compose. Playing the clarinet was really easy for me and I was very good at it from a young age, so I had opportunities that I wasn’t going to throw away.\u003c/p>\n\u003cp>In high school, I played as a substitute for a couple of clarinetists who would need someone to go to a rehearsal when they’d get called in for studio work. The other musicians would put a group together to perform my music so I could hear it, because those were my peers at the point. Maybe I wasn’t a peer; I was a mascot.\u003c/p>\n\u003cfigure id=\"attachment_13078879\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13078879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MSwClarinet.jpg\" alt=\"Subotnick with clarinet performing 'Passages of the Beast' at The Kitchen in 1979. \" width=\"434\" height=\"642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-240x355.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSwClarinet-375x555.jpg 375w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Subotnick with clarinet performing ‘Passages of the Beast’ at The Kitchen in 1979. \u003ccite>(Photo: Carlo Carnevali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was playing the Mozart clarinet concerto and things like that. I was playing traditional music. New music too, like Stravinsky — that was the new music at the time. What I was writing was sort of in those veins: little bit from Bartok, but mostly from Schoenberg and Charles Ives. A kind of cross between those things. I was learning twelve-tone. Schoenberg lived in Los Angeles and so did Stravinsky, so I went to their concerts when I was in high school.\u003c/p>\n\u003cp>I auditioned for Juilliard the year before I graduated from high school and I was offered a scholarship. Then I was offered a scholarship at the University of Southern California. I went to USC. On the first day of the entrance exams I passed all four years of music, so I majored in English Literature.\u003c/p>\n\u003cp>The school had me playing all the time. They actually paid a little bit of money and I got a scholarship and free housing. I took courses that year, and I discovered a whole world that I hadn’t paid attention to, like literature, and science, and math, and everything that I had never even touched as a kid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I was known by all the musicians, especially the wind players in Los Angeles, and they said “what are you doing at USC? Why don’t you go play in a symphony orchestra?” There was an audition for the Denver Symphony and the conductor was in town. I auditioned and I got a job as a second clarinet, or something, at the Denver Symphony. I was seventeen.\u003c/p>\n\u003cp>I went there and I met Stan Brakhage, who was just getting out of high school. Jim Tenney, who is a composer, experimental composer, he was just getting out of high school too. We ganged up together as a team, I mean, just as friends, and the whole world of avant-garde was opening like mad. Stan ended up doing with film what I would end up doing with electronics and things.\u003c/p>\n\u003cfigure id=\"attachment_13078882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13078882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/MSatKitchen-800x536.jpg\" alt=\"Subotnick with Ralph Grierson preparing Liquid Strata for piano and electronic ghost score at The Kitchen in 1979.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/MSatKitchen-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Subotnick with Ralph Grierson preparing Liquid Strata for piano and electronic ghost score at The Kitchen in 1979. \u003ccite>(Photo: Carlo Carnevali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I got there to Denver and I was still in undergraduate because I had to go to college to stay out of the war. But I couldn’t matriculate because I was in rehearsals and everything. I took courses but they didn’t add up to a degree. I did a huge amount of literature and poetry. I was getting a huge education but it wasn’t a major in anything, so they finally got me in the army.\u003c/p>\n\u003cp>The next thing I knew, I was drafted into the Korean War and stationed in San Francisco, at the Presidio. We could stay out of battle if we played in a band, the Six Army Band from Los Angeles. Herb Alpert was in the band. It was all young musicians from Los Angeles.\u003c/p>\n\u003cp>I loved San Francisco, so I wanted to stay when I got out. I didn’t have a Bachelor’s degree because I had not finished up anything, but Mills College offered me a fellowship to go there. I would be studying with Darius Milhaud and Leon Kirchner. I can’t tell you how many courses I took. I doubled up on everything. I finished about a year and a half of work in a little more than two quarters of school.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>By 1963, I knew what I wanted. I wanted a new instrument.\u003c/p>\n\u003cp>That was the vision I had in 1959, ’60, ’61, that we’re going to have a new … We’re entering a new period. My analogy was what the printing press was to language and ideas, the new transistor and the new technology would be to music because it was the first time everybody was going to be able to hear music.\u003c/p>\n\u003cp>You couldn’t hear music, which is really hard to understand today. You had to go to a concert to hear music. You had to have someone play. If you wanted to hear an opera on the radio, you could hear the Met and whatever it is that they were doing every Saturday morning. Recordings were not the main thing yet, and they didn’t really become cheap enough. At that point it was clear that everybody would be hearing music and it would be cheap.\u003c/p>\n\u003cfigure id=\"attachment_13078881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13078881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-800x450.jpg\" alt=\"Morton Subotnick performs at New York's La MaMa Experimental Theatre Club in 2004.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Morton-Subotnick-Getty-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick performs at New York’s La MaMa Experimental Theatre Club in 2004. \u003ccite>(Photo: Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the people I knew were afraid that music was going to disappear, symphony orchestras would go down the drain, there would be nothing but machines making music. I didn’t see it that way at all. I wanted to be involved, so I began to think of how to do it. I came up with a plan, put an ad in the paper, and one of the people who came to build it was [Don] Buchla. He and I worked for close to two years on paper, because we didn’t have any money to even buy any parts. I was feeding him music information and saying “what we need is this, what we need is that.” Then he would say, “I think a way to do it would be this. I said “Oh god, that makes me think maybe we could do this, too. Yeah, we could do that.” It was almost two years of this.\u003c/p>\n\u003cp>When it arrived, I was ready to go. I knew what I was going to do with it, and I did it. Literally, I started \u003cem>Silver Apples of the Moon\u003c/em> within a year of starting to work with the instrument. That isn’t to say the [synthesizer] didn’t have a big influence on me at that time, but it wasn’t like “Oh my gosh, look at this? What am I going to do with it?”\u003c/p>\n\u003cfigure id=\"attachment_13078658\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13078658\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp.jpg\" alt=\"Original cover for 'Silver Apples of the Moon'\" width=\"550\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/SilverApplesOn_Moon_lp-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Original cover for ‘Silver Apples of the Moon’\u003c/figcaption>\u003c/figure>\n\u003cp>In 1966 I started working on what would become \u003cem>Silver Apples of the Moon\u003c/em>. I was trying to make something with this machine that you couldn’t make with anything else. A new expression as best I could. I knew it was not going to be that new because there’s no way for me to get there, but to start with, I would go beyond anything I’d ever done before without any means, except electronic, but without the keyboards and things.\u003c/p>\n\u003cp>\u003cem>Silver Apples\u003c/em> was made without a black and white keyboard. When I kept being asked, for years after, “What’s wrong with the keyboard?” I said that a keyboard is going to force you to make either old music with a new instrument or new old music. By avoiding the keyboard and all traditional instruments, to work only with the electronics, it would give you more opportunity to create a new music.\u003c/p>\n\u003cp>You have \u003cem>Silver Apples\u003c/em> coming out in the fall of 1967, and \u003cem>Switched-On Bach\u003c/em>, I think, is 1968. A Bach Brandenburg Concerto. That is exactly what one would have expected if you started off with a black and white keyboard.\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/LqMKcvwd67A'\n title='//www.youtube.com/embed/LqMKcvwd67A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13078400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/b200_break2-800x126.jpg\" alt=\"b200_break2\" width=\"800\" height=\"126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-768x121.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-240x38.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-375x59.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/b200_break2-520x82.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Morton Subotnick performs as part of the Don Buchla Memorial Concerts, which begin Saturday, April 22 and end on Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3G1hRNLlYpg\u003c/p>\n\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bT5qTY83aMI\u003c/p>\n\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hrpJJdH9xfQ\u003c/p>\n\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\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=\"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>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Buchla isn’t exactly a household name, but that’s changing, slowly but surely. Buchla, who was born outside Los Angeles and spent the majority of his life in Berkeley until his death in September 2016, was an engineer and inventor whose pioneering synthesizer designs and electronic instruments made an indelible mark on contemporary music-making, the extent and depth of which we’re only beginning to understand fully.\u003c/p>\n\u003cp>To celebrate his life and legacy, the longstanding San Francisco-based audio research organization Recombinant Media Labs (aka RML) joins forces with Obscura Digital, the Associates of Don Buchla, and local nonprofit Gray Area to host the Don Buchla Memorial Concerts on Saturday, April 22 and Sunday, April 23. The two days and nights of electronic and synthesizer music, performed at Gray Area’s theater in San Francisco, will be helmed by none other than grandfather of Buchla-based electronic music himself, Morton Subotnick.\u003c/p>\n\u003cp>Subotnick and Buchla are inextricable; in fact, it was at Subotnick’s behest during the early days of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Center \u003c/a>(which Subotnick co-founded) that Buchla designed his first synthesizer, the Buchla 100 series, which Subotnick used to record his first electronic composition, \u003cem>Silver Apples of the Moon.\u003c/em>\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/3G1hRNLlYpg'\n title='//www.youtube.com/embed/3G1hRNLlYpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unlike Moog synthesizers, developed contemporaneously with Buchla’s on the opposite end of the country, Buchla’s instruments were designed to be obtuse — they lacked a keyboard, notably. \u003ca href=\"http://daily.redbullmusicacademy.com/2016/10/instrumental-instruments-buchla\" target=\"_blank\" rel=\"noopener\">Recounts Subotnick\u003c/a>: “[Buchla] wanted to make a musical instrument. I said, ‘This is not a musical instrument. This is, at best, an instrument to make instruments. It’s to paint.’ … I didn’t want to reproduce the old way to make music, which was pitch-based orientation. I wanted it to be gesturally based.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This in-built obtuseness was a blessing — and a curse, because the difficulty of using Buchla’s instruments meant they were commercial failures. If we consider Don Buchla and Robert Moog to have waged a war of design philosophy (“esoteric” vs. “accessible,” reductively), Moog was the clear winner: “Moog” is practically synonymous with “synthesizer” the way, say, Kleenex is with tissue. His products dominated the market — and, summarily, the way electronic music sounds.\u003c/p>\n\u003cfigure id=\"attachment_13073902\" class=\"wp-caption aligncenter\" style=\"max-width: 799px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13073902\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg\" alt=\"Morton Subotnick\" width=\"799\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/subotnick-on-buchla-courtesy-red-bull-520x276.jpg 520w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick \u003ccite>(Misha Vladimirsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it proved a blessing for those artists and musicians willing to do the work necessary to learn how to wrangle Buchla’s instruments. Electronic music innovator Suzanne Ciani used a Buchla synthesizer to create one of the most recognizable jingles ever made, the Coca Cola “Pop ‘n Pour,” which is simply the magic of Buchla at work — no cans of Coke were cracked open in its recording.\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/bT5qTY83aMI'\n title='//www.youtube.com/embed/bT5qTY83aMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Buchla Memorial Concerts feature a staggering number of renowned electronic musicians, including rare appearances by both Subotnick and Ciani, and feature day-into-evening schedules on both Saturday and Sunday. For this author, Sunday is the standout, featuring headlining performances from Ciani and two of electronic music’s most thrilling contemporaries, Keith Fullerton Whitman and Alessandro Cortini, both of whom manage to coax sounds out of their synthesizers that sound truly like nothing else on this Earth.\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/hrpJJdH9xfQ'\n title='//www.youtube.com/embed/hrpJJdH9xfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Above all, these concerts pay homage to the Bay Area’s numerous electronic music pioneers, who pushed boundaries and realized their visions to the fullest possible extent. Let us celebrate them.\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=\"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>The Don Buchla Memorial Concerts are ongoing from Saturday, April 22 through Sunday, April 23. \u003ca href=\"http://grayarea.org/event/don-buchla-memorial-concerts/\" target=\"_blank\" rel=\"noopener\">Specific performance times, tickets ($25 and up) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jawbreaker, the heartfelt punk band that defined the Mission District scene in the 1990s, will reunite for Riot Fest in Chicago in September, the band confirmed today. Jawbreaker will headline Riot Fest’s Sunday lineup. \u003c/p>\n\u003cp>https://twitter.com/JawbreakerBand/status/854700818913566720\u003c/p>\n\u003cp>The band, which disbanded after the relative commercial failure of their major-label debut \u003cem>Dear You\u003c/em>, has seen its influence and popularity rise in the past 21 years. Rumors of a reunion have surfaced in recent years as the band has worked together to film a documentary, or to support benefit causes. (In January, both drummer Adam Phaler and bassist Chris Bauermeister were spotted together at a Nuisance show in Berkeley.)\u003c/p>\n\u003cp>Last year, the band played together in New York to test the waters for a headlining festival slot; \u003ca href=\"http://pitchfork.com/news/65526-jawbreaker-excited-for-possible-reunion-have-rehearsed-together/\" target=\"_blank\" rel=\"noopener\">according to drummer\u003c/a> Adam Pfhaler, “Blake [Schwarzenbach] would not do it for all the money in the world. And I would do it for nothing. So it’s two sides of that same coin.”\u003c/p>\n\u003cp>At press time, the Riot Fest appearance is the only date announced for the reunion, though according to the typical concert-industry contract, other upcoming dates could be likely after Riot Fest sells out. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch Jawbreaker play ‘Parabola’ at Punks With Presses in West Oakland in 1994:\u003cbr>\n\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=hT5oaxDQO4g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The band, which disbanded after the relative commercial failure of their major-label debut \u003cem>Dear You\u003c/em>, has seen its influence and popularity rise in the past 21 years. Rumors of a reunion have surfaced in recent years as the band has worked together to film a documentary, or to support benefit causes. (In January, both drummer Adam Phaler and bassist Chris Bauermeister were spotted together at a Nuisance show in Berkeley.)\u003c/p>\n\u003cp>Last year, the band played together in New York to test the waters for a headlining festival slot; \u003ca href=\"http://pitchfork.com/news/65526-jawbreaker-excited-for-possible-reunion-have-rehearsed-together/\" target=\"_blank\" rel=\"noopener\">according to drummer\u003c/a> Adam Pfhaler, “Blake [Schwarzenbach] would not do it for all the money in the world. And I would do it for nothing. So it’s two sides of that same coin.”\u003c/p>\n\u003cp>At press time, the Riot Fest appearance is the only date announced for the reunion, though according to the typical concert-industry contract, other upcoming dates could be likely after Riot Fest sells out. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Gray Area Foundation for the Arts is distributing the last of the donations it raised in the wake of the deadly Ghost Ship warehouse fire in Oakland, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-fund-final-distribution-relief-recovery-allocations/\" target=\"_blank\" rel=\"noopener\">organizers have announced\u003c/a>.\u003c/p>\n\u003cp>The foundation raised approximately $1.3 million from over 12,000 donors for those affected by the blaze that \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">killed 36 people in December\u003c/a>. Through direct donations and a widely promoted campaign \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\">on YouCaring.com\u003c/a>, the foundation raised more than any charitable group in the Bay Area.\u003c/p>\n\u003cp>The group will provide funds to a total of 390 applicants, which range from deceased victims’ next of kin, displaced residents, those injured in the fire, plus “hundreds who would not be acknowledged by traditional disaster relief organizations,” including “chosen family within marginalized communities.” Gray Area said it had already distributed over $1 million since January, and would disperse the remaining $200,000 in funds on a weekly basis. \u003c/p>\n\u003cp>The foundation had faced criticism for taking too long to distribute the money it raised, and for requiring documentation for the expenditures.\u003c/p>\n\u003cp>“Most of the affected ppl I know were too wracked with grief and despair to start immediately worrying about receipts, and most are too poor to even think about going to therapy,” Scout Wolfcave wrote on Facebook. (Wolfcave is the executive director of the \u003ca href=\"https://www.facebook.com/transassistanceproject/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a>, which raised funds for the families of the trans women who died in the fire.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.facebook.com/GrayArea/posts/10154958704980219\" target=\"_blank\" rel=\"noopener\">statement posted\u003c/a> on its \u003ca href=\"https://www.facebook.com/GrayArea/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Monday, the foundation defended its slow, methodical process of vetting applicants in need of funds “to help prevent the fraud that has plagued other organizations and is sadly typical in the wake of such disasters.” \u003c/p>\n\u003cp>“We care intensely about getting these funds to the affected communities,” the statement said. “Our protocol, timelines and forms are in line with that of teams in similar situations, such as the One Orlando Fund. Meeting IRS guidelines is not optional for a non-profit organization such as Gray Area.”\u003c/p>\n\u003cp>Gray Area also announced that it has started \u003ca href=\"https://www.youcaring.com/resiliencyprojectoaklandfirefund-801424\" target=\"_blank\" rel=\"noopener\">another online fundraising campaign\u003c/a> to provide ongoing support and resiliency to those affected by the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is a breakdown of the payouts from the Gray Area Foundation.\u003c/i> \u003c/p>\n\u003cdiv style=\"padding: 8px 0;font-family: Arial!important;font-size: 13px!important;line-height: 15px!important;text-align: center;border-top: 1px solid #dadada;margin: 0 30px\">\u003ca style=\"color: #989898!important;text-decoration: none!important\" href=\"https://infogr.am/gray_area_oakland_fire_fund_relief_and_recovery_allocations\" target=\"_blank\" rel=\"nofollow noopener\">Gray Area Oakland Fire Fund Relief & Recovery Allocations\u003c/a>\n\u003cp>\u003cb>CORRECTION:\u003c/b> An earlier version of this story said that the Gray Area Foundation had been accused of taking five months to distribute donations. The foundation began distributing funds back in January. \u003c/p>\n\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Gray Area Foundation for the Arts is distributing the last of the donations it raised in the wake of the deadly Ghost Ship warehouse fire in Oakland, \u003ca href=\"http://grayarea.org/press/gray-area-foundation-arts-oakland-fire-fund-final-distribution-relief-recovery-allocations/\" target=\"_blank\" rel=\"noopener\">organizers have announced\u003c/a>.\u003c/p>\n\u003cp>The foundation raised approximately $1.3 million from over 12,000 donors for those affected by the blaze that \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">killed 36 people in December\u003c/a>. Through direct donations and a widely promoted campaign \u003ca href=\"https://www.youcaring.com/firevictimsofoaklandfiredec232016-706684\" target=\"_blank\" rel=\"noopener\">on YouCaring.com\u003c/a>, the foundation raised more than any charitable group in the Bay Area.\u003c/p>\n\u003cp>The group will provide funds to a total of 390 applicants, which range from deceased victims’ next of kin, displaced residents, those injured in the fire, plus “hundreds who would not be acknowledged by traditional disaster relief organizations,” including “chosen family within marginalized communities.” Gray Area said it had already distributed over $1 million since January, and would disperse the remaining $200,000 in funds on a weekly basis. \u003c/p>\n\u003cp>The foundation had faced criticism for taking too long to distribute the money it raised, and for requiring documentation for the expenditures.\u003c/p>\n\u003cp>“Most of the affected ppl I know were too wracked with grief and despair to start immediately worrying about receipts, and most are too poor to even think about going to therapy,” Scout Wolfcave wrote on Facebook. (Wolfcave is the executive director of the \u003ca href=\"https://www.facebook.com/transassistanceproject/\" target=\"_blank\" rel=\"noopener\">Trans Assistance Project\u003c/a>, which raised funds for the families of the trans women who died in the fire.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.facebook.com/GrayArea/posts/10154958704980219\" target=\"_blank\" rel=\"noopener\">statement posted\u003c/a> on its \u003ca href=\"https://www.facebook.com/GrayArea/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> Monday, the foundation defended its slow, methodical process of vetting applicants in need of funds “to help prevent the fraud that has plagued other organizations and is sadly typical in the wake of such disasters.” \u003c/p>\n\u003cp>“We care intensely about getting these funds to the affected communities,” the statement said. “Our protocol, timelines and forms are in line with that of teams in similar situations, such as the One Orlando Fund. Meeting IRS guidelines is not optional for a non-profit organization such as Gray Area.”\u003c/p>\n\u003cp>Gray Area also announced that it has started \u003ca href=\"https://www.youcaring.com/resiliencyprojectoaklandfirefund-801424\" target=\"_blank\" rel=\"noopener\">another online fundraising campaign\u003c/a> to provide ongoing support and resiliency to those affected by the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is a breakdown of the payouts from the Gray Area Foundation.\u003c/i> \u003c/p>\n\u003cdiv style=\"padding: 8px 0;font-family: Arial!important;font-size: 13px!important;line-height: 15px!important;text-align: center;border-top: 1px solid #dadada;margin: 0 30px\">\u003ca style=\"color: #989898!important;text-decoration: none!important\" href=\"https://infogr.am/gray_area_oakland_fire_fund_relief_and_recovery_allocations\" target=\"_blank\" rel=\"nofollow noopener\">Gray Area Oakland Fire Fund Relief & Recovery Allocations\u003c/a>\n\u003cp>\u003cb>CORRECTION:\u003c/b> An earlier version of this story said that the Gray Area Foundation had been accused of taking five months to distribute donations. The foundation began distributing funds back in January. \u003c/p>\n\u003c/div>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Give Oakland Mayor Libby Schaaf points for planning ahead: the mayoral election is nearly 19 months away, \u003ca href=\"https://libbyformayor.wordpress.com/\" target=\"_blank\" rel=\"noopener\">but she announced Monday plans to seek a second term in 2018\u003c/a>.\u003c/p>\n\u003cp>That’s prompting a mixed assessment from arts activists, who’ve been following Schaaf’s administration since the Ghost Ship fire — when 36 people died at a dance party in an Oakland warehouse that was home to many artists, but which had never been fully inspected by fire officials.\u003c/p>\n\u003cp>Since the tragedy, Schaaf has tried to walk a fine line between tougher safety enforcement and protecting artists from eviction. In announcing her plans for reelection, Schaaf wrote, “I will also fight to protect our small Oakland-grown businesses, artists and non-profit organizations from displacement.”\u003c/p>\n\u003cp>“Libby has really stepped out on a limb for us,” says \u003ca href=\"http://formandreform.com/\" target=\"_blank\" rel=\"noopener\">Jon Sarriugarte\u003c/a>, a commercial artist in West Oakland active in the group \u003ca href=\"http://artistsofthebay.org/\" target=\"_blank\" rel=\"noopener\">We the Artists of the Bay Area\u003c/a>. He also serves on a pair of mayoral committees including one on housing retention. “All of us have been grateful, and for her statement in support of balancing art and safety.”\u003c/p>\n\u003cfigure id=\"attachment_12632118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12632118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg\" alt=\"We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Sarriugarte and others with We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at an event in January of this year. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In January, Schaaf issued an executive order aimed at improving safety at unpermitted warehouses, but also offering residents protections, such as requiring a five-day warning to tenants before any inspectors enter the property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I would say she’s definitely trying,” says David Keenan, a member of the Omni Commons, a DIY collective in North Oakland. “But she’s also facing substantial blocks from city agencies which move very slowly.”\u003c/p>\n\u003cp>After clearing an exhaustive planning review, Keenan’s own group briefly faced eviction when Oakland’s chief building official misread a zoning map.\u003c/p>\n\u003cp>Keenan said that despite Schaaf’s good intentions, landlords are still evicting artists even without pressure from city inspectors. “Basically two weeks doesn’t go by,” he says, “without my hearing about someone being given a 1-3 month notice to get out.”\u003c/p>\n\u003cfigure id=\"attachment_12631920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg\" alt=\"David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1920x1271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Schaaf is recruiting a new fire chief, and Keenan says he’ll be watching to see if the Mayor finds someone who Keenan says “follows a philosophy of compassionate compliance, where officials balance concerns about whether the sprinklers are up to code with making sure the tenant has a roof over their head.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Give Oakland Mayor Libby Schaaf points for planning ahead: the mayoral election is nearly 19 months away, \u003ca href=\"https://libbyformayor.wordpress.com/\" target=\"_blank\" rel=\"noopener\">but she announced Monday plans to seek a second term in 2018\u003c/a>.\u003c/p>\n\u003cp>That’s prompting a mixed assessment from arts activists, who’ve been following Schaaf’s administration since the Ghost Ship fire — when 36 people died at a dance party in an Oakland warehouse that was home to many artists, but which had never been fully inspected by fire officials.\u003c/p>\n\u003cp>Since the tragedy, Schaaf has tried to walk a fine line between tougher safety enforcement and protecting artists from eviction. In announcing her plans for reelection, Schaaf wrote, “I will also fight to protect our small Oakland-grown businesses, artists and non-profit organizations from displacement.”\u003c/p>\n\u003cp>“Libby has really stepped out on a limb for us,” says \u003ca href=\"http://formandreform.com/\" target=\"_blank\" rel=\"noopener\">Jon Sarriugarte\u003c/a>, a commercial artist in West Oakland active in the group \u003ca href=\"http://artistsofthebay.org/\" target=\"_blank\" rel=\"noopener\">We the Artists of the Bay Area\u003c/a>. He also serves on a pair of mayoral committees including one on housing retention. “All of us have been grateful, and for her statement in support of balancing art and safety.”\u003c/p>\n\u003cfigure id=\"attachment_12632118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12632118 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg\" alt=\"We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at a recent event\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1920x1226.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-10.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Sarriugarte and others with We the Artists of the Bay Area gave away free fire extinguishers and smoke alarms at an event in January of this year. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In January, Schaaf issued an executive order aimed at improving safety at unpermitted warehouses, but also offering residents protections, such as requiring a five-day warning to tenants before any inspectors enter the property.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would say she’s definitely trying,” says David Keenan, a member of the Omni Commons, a DIY collective in North Oakland. “But she’s also facing substantial blocks from city agencies which move very slowly.”\u003c/p>\n\u003cp>After clearing an exhaustive planning review, Keenan’s own group briefly faced eviction when Oakland’s chief building official misread a zoning map.\u003c/p>\n\u003cp>Keenan said that despite Schaaf’s good intentions, landlords are still evicting artists even without pressure from city inspectors. “Basically two weeks doesn’t go by,” he says, “without my hearing about someone being given a 1-3 month notice to get out.”\u003c/p>\n\u003cfigure id=\"attachment_12631920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12631920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg\" alt=\"David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1920x1271.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/007-e1484526233461.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Keenan, an organizer with the DIY Safety Group and the Omni Commons collective. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Schaaf is recruiting a new fire chief, and Keenan says he’ll be watching to see if the Mayor finds someone who Keenan says “follows a philosophy of compassionate compliance, where officials balance concerns about whether the sprinklers are up to code with making sure the tenant has a roof over their head.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who's in the mood for live music? We've collaborated with our friends at \u003cstrong>Noise Pop\u003c/strong> to offer up your choice of upcoming performances. Drift \"in and out of dream states\" with celestial sounds by Italian composer \u003cstrong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/porcelain-raft/\" target=\"_blank\">Porcelain Raft\u003c/a>\u003c/strong> on Thursday, April 26 or spend this Friday, April 21 with musician \u003cstrong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/spiral-stairs/\" target=\"_blank\">Spiral Stairs\u003c/a>,\u003c/strong> best known as a founding member of the indie-rock band Pavement. Listen to a few of their most popular tunes and enter our giveaway for a chance to win a pair of tickets.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/spiral-stairs/\" target=\"_blank\">Spiral Stairs (Scott Kannberg of Pavement) \u003c/a>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UpZM4Cdc97Q\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/porcelain-raft/\" target=\"_blank\">\u003cstrong>Porcelain Raft \u003c/strong>\u003c/a>\u003ca href=\"http://www.axs.com/events/331763/brit-floyd-tickets?skin=mountainwinery\" target=\"_blank\">\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=slvRwlnAY6g\u003c/p>\n\u003cp> \u003c/p>\n\u003cp style=\"color: #000000\">Fill out the form below for a chance to win a pair of tickets and to receive weekly updates about Bay Area art and culture.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSfAGKQV8YuG6vRUDn7mwZvHR5YIYrpCL1VefZxHRnK8dqohhA/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select one winner per show for a pair of tickets (average value $14 per ticket). \u003cstrong>Deadline to enter is Thursday, April 20\u003c/strong> at\u003cstrong> 12:30 pm.\u003c/strong> Winners will be notified by e-mail on Thursday afternoon and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\u003cb>\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\">\u003cbr>\n\u003cstrong>\u003cspan style=\"font-family: 'Arial','sans-serif'\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/\" target=\"_blank\">\u003cspan style=\"color: #24890d\">Swedish American Hall\u003c/span>\u003c/a>\u003cbr>\n\u003c/span>\u003c/strong>\u003c/span>\u003c/b>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/spiral-stairs/\" target=\"_blank\">Spiral Stairs: Friday, April 21, Doors at 8:30 pm\u003c/a>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: black\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/porcelain-raft/\" target=\"_blank\">Porcelain Raft: Wednesday, April 26, Doors at 7:30 pm\u003c/a>\u003cbr>\n2174 Market Street\u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: black\">San Francisco, CA 94114\u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\"> \u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/\" target=\"_blank\">\u003cspan class=\"apple-converted-space\">\u003cb>\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\">Purchase tickets\u003c/span>\u003c/b>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\n\u003c/p>\n",
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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/slvRwlnAY6g'\n title='//www.youtube.com/embed/slvRwlnAY6g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp style=\"color: #000000\">Fill out the form below for a chance to win a pair of tickets and to receive weekly updates about Bay Area art and culture.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://docs.google.com/forms/d/e/1FAIpQLSfAGKQV8YuG6vRUDn7mwZvHR5YIYrpCL1VefZxHRnK8dqohhA/viewform?%20embedded=true\" width=\"800\" height=\"600\" frameborder=\"0\" marginheight=\"0\" marginwidth=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select one winner per show for a pair of tickets (average value $14 per ticket). \u003cstrong>Deadline to enter is Thursday, April 20\u003c/strong> at\u003cstrong> 12:30 pm.\u003c/strong> Winners will be notified by e-mail on Thursday afternoon and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\u003cb>\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\">\u003cbr>\n\u003cstrong>\u003cspan style=\"font-family: 'Arial','sans-serif'\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/\" target=\"_blank\">\u003cspan style=\"color: #24890d\">Swedish American Hall\u003c/span>\u003c/a>\u003cbr>\n\u003c/span>\u003c/strong>\u003c/span>\u003c/b>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/spiral-stairs/\" target=\"_blank\">Spiral Stairs: Friday, April 21, Doors at 8:30 pm\u003c/a>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: black\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/porcelain-raft/\" target=\"_blank\">Porcelain Raft: Wednesday, April 26, Doors at 7:30 pm\u003c/a>\u003cbr>\n2174 Market Street\u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: black\">San Francisco, CA 94114\u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt;text-align: start\">\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\"> \u003c/span>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/\" target=\"_blank\">\u003cspan class=\"apple-converted-space\">\u003cb>\u003cspan style=\"font-family: 'Arial','sans-serif';color: #2b2b2b\">Purchase tickets\u003c/span>\u003c/b>\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp style=\"margin: 0in;margin-bottom: .0001pt\">\n\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A doctor who saw Prince in the days before he died had prescribed the opioid painkiller oxycodone under the name of Prince’s friend to protect the musician’s privacy, according to court documents unsealed Monday that revealed nothing about how the pop superstar got the fentanyl that actually killed him.\u003c/p>\n\u003cp>The affidavits and search warrants were unsealed in Carver County District Court as the yearlong investigation into Prince’s death continues. The documents show authorities searched Paisley Park, cellphone records of Prince’s associates, and Prince’s email accounts to try to determine how he got the fentanyl, a synthetic opioid drug 50 times more powerful than heroin.\u003c/p>\n\u003cp>They don’t reveal answers, but do shed light on Prince’s struggle with addiction to prescription opioids in the days before he died. Oxycodone, the generic name for the active ingredient in OxyContin, was not listed as a cause of Prince’s death. But it is part of a family of painkillers driving the nation’s overdose and addiction epidemic, according to the U.S. Centers for Disease Control and Prevention. Nearly 2 million Americans abused or were addicted to prescription opioids, including oxycodone, in 2014.\u003c/p>\n\u003cp>Patients who take prescription opioids eventually build up a tolerance and need to take stronger doses to get the same effect. In some patients, the cycle leads to dependence and addiction.\u003cbr>\nPrince was 57 when he was found alone and unresponsive in an elevator at his Paisley Park home on April 21.\u003c/p>\n\u003cp>Just six days earlier, Prince fell ill on a plane and made an emergency stop in Illinois as he was returning home from a concert in Atlanta. First responders revived him with two doses of a drug that reverses the effects of an opioid overdose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A search of Prince’s home yielded numerous pills in various containers. Some were in prescription bottles for Kirk Johnson, Prince’s longtime friend and associate. Some pills in other bottles were marked “Watson 853,” a label used for a drug that is a mix of acetaminophen and hydrocodone, another opioid painkiller. Last August, an official with knowledge of the investigation told the Associated Press that at least one of those pills tested positive for fentanyl, meaning the pill was counterfeit and obtained illegally. The official spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>In addition to the dozens of pills recovered, authorities also found a pamphlet for an addiction recovery center in California, the documents unsealed Monday show. The day before Prince died, Paisley Park staffers contacted the California addiction specialist as they were trying to get Prince help.\u003c/p>\n\u003cp>One affidavit says Dr. Michael Todd Schulenberg, a family doctor who saw Prince April 7, 2016, and again on April 20, acknowledged to authorities that he prescribed oxycodone for Prince the same day as the emergency plane landing “but put the prescription in Kirk Johnson’s name for Prince’s privacy.”\u003c/p>\n\u003cp>Authorities also searched Johnson’s cellphone records, to see who he was communicating with in the month before Prince died.\u003c/p>\n\u003cp>Messages left with attorneys for Schulenberg and Johnson weren’t immediately returned Monday. Schulenberg has an active medical license and is currently practicing family medicine in Minnesota. His attorney, Amy Conners, told the AP last week that there are no restrictions on his license.\u003c/p>\n\u003cp>Investigators haven’t interviewed either Johnson or Schulenberg since the hours after Prince died, an official with knowledge of the investigation told The Associated Press on condition of anonymity because the investigation is ongoing.\u003c/p>\n\u003cp>While authorities have the power to ask a grand jury to investigate and issue subpoenas for testimony, that step hasn’t been taken, the official said.\u003c/p>\n\u003cp>Prince did not have a cellphone, and authorities searched multiple email accounts that belonged to him, as they tried to determine who he was communicating with and where he got the drugs that killed him, according to the search warrants. The search warrants don’t reveal the outcome of the email searches.\u003c/p>\n\u003cp>The documents say some of the drugs in Prince’s bedroom were in a suitcase with the name “Peter Bravestrong” on it. Police believe Bravestrong was an alias that Prince used when he traveled. \u003c/p>\n\u003cp>The suitcase also contained lyrics for the song “U Got the Look” that appeared to be in Prince’s handwriting.\u003c/p>\n\u003cp>The day before Prince died, Paisley Park staffers contacted California addiction specialist Dr. Howard Kornfeld for help. Kornfeld sent his son, Andrew, to Minnesota that night, and the younger Kornfeld was among those who found Prince’s body.\u003c/p>\n\u003cp>Andrew Kornfeld was carrying buprenorphine, a medication that can be used to help treat opioid addiction. The Kornfelds’ attorney, William Mauzy, has said Andrew had intended to give the medication to a doctor who planned to see Prince on April 21.\u003c/p>\n\u003cp>Investigators have said little about the case over the last year, other than it is active. The official who spoke to the AP said the case has taken investigators to Illinois and California, as authorities have interviewed friends, family and any potential witnesses, including the flight crew and hospital staff that were present when Prince overdosed on the plane.\u003cbr>\n___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AP Medical Writer Carla K. Johnson contributed to this story from Chicago.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A doctor who saw Prince in the days before he died had prescribed the opioid painkiller oxycodone under the name of Prince’s friend to protect the musician’s privacy, according to court documents unsealed Monday that revealed nothing about how the pop superstar got the fentanyl that actually killed him.\u003c/p>\n\u003cp>The affidavits and search warrants were unsealed in Carver County District Court as the yearlong investigation into Prince’s death continues. The documents show authorities searched Paisley Park, cellphone records of Prince’s associates, and Prince’s email accounts to try to determine how he got the fentanyl, a synthetic opioid drug 50 times more powerful than heroin.\u003c/p>\n\u003cp>They don’t reveal answers, but do shed light on Prince’s struggle with addiction to prescription opioids in the days before he died. Oxycodone, the generic name for the active ingredient in OxyContin, was not listed as a cause of Prince’s death. But it is part of a family of painkillers driving the nation’s overdose and addiction epidemic, according to the U.S. Centers for Disease Control and Prevention. Nearly 2 million Americans abused or were addicted to prescription opioids, including oxycodone, in 2014.\u003c/p>\n\u003cp>Patients who take prescription opioids eventually build up a tolerance and need to take stronger doses to get the same effect. In some patients, the cycle leads to dependence and addiction.\u003cbr>\nPrince was 57 when he was found alone and unresponsive in an elevator at his Paisley Park home on April 21.\u003c/p>\n\u003cp>Just six days earlier, Prince fell ill on a plane and made an emergency stop in Illinois as he was returning home from a concert in Atlanta. First responders revived him with two doses of a drug that reverses the effects of an opioid overdose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A search of Prince’s home yielded numerous pills in various containers. Some were in prescription bottles for Kirk Johnson, Prince’s longtime friend and associate. Some pills in other bottles were marked “Watson 853,” a label used for a drug that is a mix of acetaminophen and hydrocodone, another opioid painkiller. Last August, an official with knowledge of the investigation told the Associated Press that at least one of those pills tested positive for fentanyl, meaning the pill was counterfeit and obtained illegally. The official spoke on condition of anonymity because of the ongoing investigation.\u003c/p>\n\u003cp>In addition to the dozens of pills recovered, authorities also found a pamphlet for an addiction recovery center in California, the documents unsealed Monday show. The day before Prince died, Paisley Park staffers contacted the California addiction specialist as they were trying to get Prince help.\u003c/p>\n\u003cp>One affidavit says Dr. Michael Todd Schulenberg, a family doctor who saw Prince April 7, 2016, and again on April 20, acknowledged to authorities that he prescribed oxycodone for Prince the same day as the emergency plane landing “but put the prescription in Kirk Johnson’s name for Prince’s privacy.”\u003c/p>\n\u003cp>Authorities also searched Johnson’s cellphone records, to see who he was communicating with in the month before Prince died.\u003c/p>\n\u003cp>Messages left with attorneys for Schulenberg and Johnson weren’t immediately returned Monday. Schulenberg has an active medical license and is currently practicing family medicine in Minnesota. His attorney, Amy Conners, told the AP last week that there are no restrictions on his license.\u003c/p>\n\u003cp>Investigators haven’t interviewed either Johnson or Schulenberg since the hours after Prince died, an official with knowledge of the investigation told The Associated Press on condition of anonymity because the investigation is ongoing.\u003c/p>\n\u003cp>While authorities have the power to ask a grand jury to investigate and issue subpoenas for testimony, that step hasn’t been taken, the official said.\u003c/p>\n\u003cp>Prince did not have a cellphone, and authorities searched multiple email accounts that belonged to him, as they tried to determine who he was communicating with and where he got the drugs that killed him, according to the search warrants. The search warrants don’t reveal the outcome of the email searches.\u003c/p>\n\u003cp>The documents say some of the drugs in Prince’s bedroom were in a suitcase with the name “Peter Bravestrong” on it. Police believe Bravestrong was an alias that Prince used when he traveled. \u003c/p>\n\u003cp>The suitcase also contained lyrics for the song “U Got the Look” that appeared to be in Prince’s handwriting.\u003c/p>\n\u003cp>The day before Prince died, Paisley Park staffers contacted California addiction specialist Dr. Howard Kornfeld for help. Kornfeld sent his son, Andrew, to Minnesota that night, and the younger Kornfeld was among those who found Prince’s body.\u003c/p>\n\u003cp>Andrew Kornfeld was carrying buprenorphine, a medication that can be used to help treat opioid addiction. The Kornfelds’ attorney, William Mauzy, has said Andrew had intended to give the medication to a doctor who planned to see Prince on April 21.\u003c/p>\n\u003cp>Investigators have said little about the case over the last year, other than it is active. The official who spoke to the AP said the case has taken investigators to Illinois and California, as authorities have interviewed friends, family and any potential witnesses, including the flight crew and hospital staff that were present when Prince overdosed on the plane.\u003cbr>\n___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AP Medical Writer Carla K. Johnson contributed to this story from Chicago.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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