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I spoke with Vanian, now 60, last month, right before he left for Australia.\u003c/p>\n\u003cp>He answered the phone with “I’m not here,” then proceeded to show that he is in fact very much still here. \u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rTfyUqVqX-0\u003c/p>\n\u003cp>\u003cb>KQED Arts: I watched the documentary about the Damned, \u003ci>Don’t You Wish We Were Dead,\u003c/i> last night and that footage from the show at the Waldorf in ‘79 is pure chaos. It’s pretty amazing. How does a show like that happen?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dave Vanian: For that particular one, it was just horrendous sound. It was really, really bad and we were getting pissed off because it was so bad. It just all went horribly wrong.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7qsQGkloHJ4\u003c/p>\n\u003cp>\u003cb>For a punk group, it seems like you took your playing very seriously.\u003c/b>\u003c/p>\n\u003cp>We did and we still do. That was it was all about. The difference between this band and some of the others is that we came up with the punk movement, and it all started with us and around us, but we weren’t conscious of being that. We were just a band. There was no name for it, and I only saw similarities to us in bands like the New York Dolls, or the Stooges, or the MC5. They were close to what we were doing and had a similar attitude. Someone asked back then what did we make and I said if we’re anything, we’re a garage band. But punk was coined a few months later and we all got tarred with the same brush.\u003c/p>\n\u003cp>\u003cb>Out of all the guys in the band, you were the only one who hadn’t really been in a band before. How did you know you could be a singer?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13032262\" class=\"wp-caption alignright\" style=\"max-width: 564px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13032262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens.jpg\" alt=\"The Damned outside Bomp Records\" width=\"564\" height=\"820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens.jpg 564w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-520x756.jpg 520w\" sizes=\"(max-width: 564px) 100vw, 564px\">\u003cfigcaption class=\"wp-caption-text\">The Damned outside Bomp Records on their first U.S. tour \u003ccite>(Photo: Jenny Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t even want to be in a band. I’m serious. I had no aspirations at all to be in a group. I was trying to do other things but I couldn’t seem to get ahead. I was always going to see bands and music was really important to me, and then it dawned on me that I should give it a go. I basically lied a little bit and said I had been in a band, and got in a group. That group quickly disbanded when we were still rehearsing and suddenly the Damned was there and I was in the band. Never looked back.\u003c/p>\n\u003cp>\u003cb>Were you nervous at all at that first practice? I mean, all those guys are players.\u003c/b>\u003c/p>\n\u003cp>No. I thought I could do it and if I couldn’t have done it, they would’ve told me straight away. That’s the kind of business it was — no one was afraid of saying, “Wow, you’re terrible.” You had to be good at what you were doing and I just hoped I was good enough, and I must’ve been. Then I had to learn what I was doing as I went along. I had to learn to be a proper singer because I had never sung before, except in my bedroom.\u003c/p>\n\u003cp>\u003cb>You guys are celebrating \u003ci>Damned, Damned, Damned\u003c/i> with this upcoming tour, but I was talking with a friend yesterday and we both agreed that \u003ci>Machine Gun Etiquette\u003c/i> is when the Damned became The Damned.\u003c/b>\u003c/p>\n\u003cp>That’s because that’s the first time we were all writing the songs. \u003ci>Damned, Damned, Damned\u003c/i> is Brian James. Wonderful album, but when you get to \u003ci>Machine Gun Etiquette\u003c/i> it becomes a collaboration, and the group as people are very different from each other. You wouldn’t expect them to be in a band together because our influences are all so different, but when we come together musically, it all seems to work. My influences are completely different from Captain (Sensible, guitarist) — his are based in prog rock, Terry Riley and a little bit of Syd Barrett. Rat (Scabies, ex-drummer) was very much into the mod scene and the Who and all those kind of bands. Mine was anything from classical music, tango, film soundtracks, to seedy garage bands from the ‘60s. Luckily in that melting pot, when it worked, it worked well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g5lBYffp4Zw\u003c/p>\n\u003cp>\u003cb>And it seems like you can tap into that same “Machine Gun” sound whenever you want. For example, the song “Under The Wheels” off 2008’s \u003ci>So, Who’s Paranoid?\u003c/i> sounds like it could be a single from \u003ci>Machine Gun Etiquette.\u003c/i> Do you ever feel pressured to make a “Damned-sounding” song, or do songs like that just come naturally?\u003c/b>\u003c/p>\n\u003cp>No, I don’t think we even have something we’d considered a “Damned sound.” I never know what a song is going to be until it starts to happen. I don’t think we’ve ever tried to consciously write in any kind of direction either; we just go with it naturally.\u003c/p>\n\u003cp>As time has gone on, we’ve grown in other directions and done different things. We always like to challenge ourselves a bit and push ourselves further. Sometimes we’ve taken risks that have paid off well that others might not have done, like writing a song like “Curtain Call.” At the time, every song was three minutes and suddenly you’ve got this 18-minute piece. But it just grew and grew and grew from a basement tune on a harmonium into this monstrous song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d66rCCoAJB0\u003c/p>\n\u003cp>\u003cb>When you wrote a song like “Plan 9, Channel 7,” which has you really going for it vocally — was there any apprehension there? I mean, there’s a lot going on there that isn’t exactly “punk.”\u003c/b>\u003c/p>\n\u003cp>It was weird, but as I said, we never really thought about that. It was more a case of “If we liked it, hopefully someone else would.” As long as it wasn’t too self indulgent. [Laughs]\u003c/p>\n\u003cp>Funny enough, part of Plan 9 was written on a guitar with one string on it. Rat gave me an old guitar — I didn’t know how to play guitar — and it was broken. He said, “I don’t want it, see if you can do something with it.” I put a string on it — bare in mind I didn’t have a tuner or anything — and I wrote this part of the riff. I played it to Captain and asked him, “Do you think this is any good?” And he said, “I like that” and he started to put other bits on it, and it turned into Plan 9, which is all about vampires and James Dean, obviously.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7MNZIThfp6k\u003c/p>\n\u003cp>\u003cb>I understand you are working on a new album.\u003c/b>\u003c/p>\n\u003cp>Yeah, we’ve started putting things together but because the tour’s imminent, we’re not going to be able to get into the studio until we come back. So far it seems like quite the mixture of material, and it’s going to go back farther into our psychedelic roots. I’m also thinking it’s not going to be a conventional album, with song/song/song/song — 12 songs, that’s the end. It’s probably going to be songs and pieces of music.\u003c/p>\n\u003cp>\u003cb>Like interludes?\u003c/b>\u003c/p>\n\u003cp>Yeah, there’s going to be a bit more to it then just an album of pop songs or punk songs or whatever it will be. And hopefully that will be a good thing. [Laughs]\u003c/p>\n\u003cp>Also, I tend to work a lot of music and not vocals. I’ve done a bit of composing for the odd B-movie and TV show, and I love doing that. I’ve always liked soundtracks, so I tend to write a lot of music that’s never going to see vocals, and probably not a drum kit either. It’s weird, but about two-thirds of my music has no vocals at all; it’s all instrumental. Yet I’m a singer.\u003c/p>\n\u003cp>\u003cb>It’s great to hear that you’re still so passionate about music.\u003c/b>\u003c/p>\n\u003cp>If you love music, you never run out of it, because you never really find it all. It’s always there and just around the corner is something else you haven’t heard before, and it’s fantastic. Also, we’ve never really hit the big time, so we’re still a bit angry and pissed off enough that we can do the other stuff.\u003c/p>\n\u003cfigure id=\"attachment_13032475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-800x450.jpg\" alt=\"Vanian with his daughter Emily, 12, on stage at Royal Albert Hall\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanian with his daughter Emily, 12, on stage at Royal Albert Hall \u003ccite>(Photo: Dod Morrison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Yeah, you always seem able to write a great fast song.\u003c/b>\u003c/p>\n\u003cp>We’re not so blasé because we’ve done 60,000 in huge stadiums with millions of screaming kids. It would be nice, I guess, but I think you can get complacent quite easily that way.\u003c/p>\n\u003cp>\u003cb>I have to ask about what two old Damned bassists, Paul Gray and Bryn Merrick, said in the doc \u003ci>Don’t You Wish We Were Dead\u003c/i> — that playing in the Damned probably gave them cancer. (Merrick, who happily joked about the claim in the documentary, died of cancer in 2015).\u003c/b>\u003c/p>\n\u003cp>They would say that, now wouldn’t they. [Laughs]\u003c/p>\n\u003cp>\u003cb>Is playing in the Damned bad for your health?\u003c/b>\u003c/p>\n\u003cp>I’ll tell you what it is, and it’s a strange thing, but I used to see it all the time: When people used to come to the band to work for us, like a tour manager or a roadie, and sometimes even a band member, they would just go totally nuts. It was like the Damned was the excuse for them to let loose all their demons. “I’m going to drink 12 beers before breakfast” and all that kind of stuff.\u003c/p>\n\u003cp>Suddenly they’d go crazy, and then they’d keel over and wonder why. And though we were crazy and did a lot of crazy things, we all knew to handle what we were doing. Yeah, we were nuts, but we didn’t need 12 beers to do it. And it wasn’t full-on all the time. Otherwise, we wouldn’t be here; we would’ve been dead long ago.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Four decades of playing songs he wrote when he was in 20's has done little to tamper the enthusiasm Dave Vanian has for music.",
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"description": "Four decades of playing songs he wrote when he was in 20's has done little to tamper the enthusiasm Dave Vanian has for music.",
"title": "Damned If You Do: Dave Vanian on 40 Years of Being in One of Punk's Best Bands | KQED",
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"headline": "Damned If You Do: Dave Vanian on 40 Years of Being in One of Punk's Best Bands",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when punk band names are being printed on pre-faded t-shirts and sold at couture prices, it’s a cruel irony that The Damned — who according to many \u003ca href=\"http://observer.com/2016/10/how-the-damned-changed-the-face-of-punk-with-their-first-song-new-rose/\" target=\"_blank\" rel=\"noopener\">released both the first \u003c/a>“official” punk single and punk album — aren’t as popular as The Clash or The Sex Pistols. \u003ci>Damned, Damned, Damned,\u003c/i> released in 1977, is a flagship example of the genre at its best. It’s a perfect mix of crashing cymbals and guitar riffs played at breakneck speeds, and because of its lo-fi production, it actually sounds like a punk show at a bar, where a bunch of drunk idiots might jump around and hurt each other for fun.\u003c/p>\n\u003cp>Despite the lack of high end t-shirt sales, the band continues to play out like they’re still in their 20s. \u003ci>Damned, Damned, Damned\u003c/i> turned 40 this February and the band is celebrating the anniversary with a world tour, which comes to the Fillmore in San Francisco on April 11. I spoke with Vanian, now 60, last month, right before he left for Australia.\u003c/p>\n\u003cp>He answered the phone with “I’m not here,” then proceeded to show that he is in fact very much still here. \u003ci>This interview has been edited for length and clarity.\u003c/i>\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/rTfyUqVqX-0'\n title='//www.youtube.com/embed/rTfyUqVqX-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>KQED Arts: I watched the documentary about the Damned, \u003ci>Don’t You Wish We Were Dead,\u003c/i> last night and that footage from the show at the Waldorf in ‘79 is pure chaos. It’s pretty amazing. How does a show like that happen?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dave Vanian: For that particular one, it was just horrendous sound. It was really, really bad and we were getting pissed off because it was so bad. It just all went horribly wrong.\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/7qsQGkloHJ4'\n title='//www.youtube.com/embed/7qsQGkloHJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>For a punk group, it seems like you took your playing very seriously.\u003c/b>\u003c/p>\n\u003cp>We did and we still do. That was it was all about. The difference between this band and some of the others is that we came up with the punk movement, and it all started with us and around us, but we weren’t conscious of being that. We were just a band. There was no name for it, and I only saw similarities to us in bands like the New York Dolls, or the Stooges, or the MC5. They were close to what we were doing and had a similar attitude. Someone asked back then what did we make and I said if we’re anything, we’re a garage band. But punk was coined a few months later and we all got tarred with the same brush.\u003c/p>\n\u003cp>\u003cb>Out of all the guys in the band, you were the only one who hadn’t really been in a band before. How did you know you could be a singer?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13032262\" class=\"wp-caption alignright\" style=\"max-width: 564px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13032262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens.jpg\" alt=\"The Damned outside Bomp Records\" width=\"564\" height=\"820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens.jpg 564w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/The-Damned-Jenny-Lens-520x756.jpg 520w\" sizes=\"(max-width: 564px) 100vw, 564px\">\u003cfigcaption class=\"wp-caption-text\">The Damned outside Bomp Records on their first U.S. tour \u003ccite>(Photo: Jenny Lens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t even want to be in a band. I’m serious. I had no aspirations at all to be in a group. I was trying to do other things but I couldn’t seem to get ahead. I was always going to see bands and music was really important to me, and then it dawned on me that I should give it a go. I basically lied a little bit and said I had been in a band, and got in a group. That group quickly disbanded when we were still rehearsing and suddenly the Damned was there and I was in the band. Never looked back.\u003c/p>\n\u003cp>\u003cb>Were you nervous at all at that first practice? I mean, all those guys are players.\u003c/b>\u003c/p>\n\u003cp>No. I thought I could do it and if I couldn’t have done it, they would’ve told me straight away. That’s the kind of business it was — no one was afraid of saying, “Wow, you’re terrible.” You had to be good at what you were doing and I just hoped I was good enough, and I must’ve been. Then I had to learn what I was doing as I went along. I had to learn to be a proper singer because I had never sung before, except in my bedroom.\u003c/p>\n\u003cp>\u003cb>You guys are celebrating \u003ci>Damned, Damned, Damned\u003c/i> with this upcoming tour, but I was talking with a friend yesterday and we both agreed that \u003ci>Machine Gun Etiquette\u003c/i> is when the Damned became The Damned.\u003c/b>\u003c/p>\n\u003cp>That’s because that’s the first time we were all writing the songs. \u003ci>Damned, Damned, Damned\u003c/i> is Brian James. Wonderful album, but when you get to \u003ci>Machine Gun Etiquette\u003c/i> it becomes a collaboration, and the group as people are very different from each other. You wouldn’t expect them to be in a band together because our influences are all so different, but when we come together musically, it all seems to work. My influences are completely different from Captain (Sensible, guitarist) — his are based in prog rock, Terry Riley and a little bit of Syd Barrett. Rat (Scabies, ex-drummer) was very much into the mod scene and the Who and all those kind of bands. Mine was anything from classical music, tango, film soundtracks, to seedy garage bands from the ‘60s. Luckily in that melting pot, when it worked, it worked well.\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/g5lBYffp4Zw'\n title='//www.youtube.com/embed/g5lBYffp4Zw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>And it seems like you can tap into that same “Machine Gun” sound whenever you want. For example, the song “Under The Wheels” off 2008’s \u003ci>So, Who’s Paranoid?\u003c/i> sounds like it could be a single from \u003ci>Machine Gun Etiquette.\u003c/i> Do you ever feel pressured to make a “Damned-sounding” song, or do songs like that just come naturally?\u003c/b>\u003c/p>\n\u003cp>No, I don’t think we even have something we’d considered a “Damned sound.” I never know what a song is going to be until it starts to happen. I don’t think we’ve ever tried to consciously write in any kind of direction either; we just go with it naturally.\u003c/p>\n\u003cp>As time has gone on, we’ve grown in other directions and done different things. We always like to challenge ourselves a bit and push ourselves further. Sometimes we’ve taken risks that have paid off well that others might not have done, like writing a song like “Curtain Call.” At the time, every song was three minutes and suddenly you’ve got this 18-minute piece. But it just grew and grew and grew from a basement tune on a harmonium into this monstrous song.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d66rCCoAJB0'\n title='//www.youtube.com/embed/d66rCCoAJB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>When you wrote a song like “Plan 9, Channel 7,” which has you really going for it vocally — was there any apprehension there? I mean, there’s a lot going on there that isn’t exactly “punk.”\u003c/b>\u003c/p>\n\u003cp>It was weird, but as I said, we never really thought about that. It was more a case of “If we liked it, hopefully someone else would.” As long as it wasn’t too self indulgent. [Laughs]\u003c/p>\n\u003cp>Funny enough, part of Plan 9 was written on a guitar with one string on it. Rat gave me an old guitar — I didn’t know how to play guitar — and it was broken. He said, “I don’t want it, see if you can do something with it.” I put a string on it — bare in mind I didn’t have a tuner or anything — and I wrote this part of the riff. I played it to Captain and asked him, “Do you think this is any good?” And he said, “I like that” and he started to put other bits on it, and it turned into Plan 9, which is all about vampires and James Dean, obviously.\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/7MNZIThfp6k'\n title='//www.youtube.com/embed/7MNZIThfp6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I understand you are working on a new album.\u003c/b>\u003c/p>\n\u003cp>Yeah, we’ve started putting things together but because the tour’s imminent, we’re not going to be able to get into the studio until we come back. So far it seems like quite the mixture of material, and it’s going to go back farther into our psychedelic roots. I’m also thinking it’s not going to be a conventional album, with song/song/song/song — 12 songs, that’s the end. It’s probably going to be songs and pieces of music.\u003c/p>\n\u003cp>\u003cb>Like interludes?\u003c/b>\u003c/p>\n\u003cp>Yeah, there’s going to be a bit more to it then just an album of pop songs or punk songs or whatever it will be. And hopefully that will be a good thing. [Laughs]\u003c/p>\n\u003cp>Also, I tend to work a lot of music and not vocals. I’ve done a bit of composing for the odd B-movie and TV show, and I love doing that. I’ve always liked soundtracks, so I tend to write a lot of music that’s never going to see vocals, and probably not a drum kit either. It’s weird, but about two-thirds of my music has no vocals at all; it’s all instrumental. Yet I’m a singer.\u003c/p>\n\u003cp>\u003cb>It’s great to hear that you’re still so passionate about music.\u003c/b>\u003c/p>\n\u003cp>If you love music, you never run out of it, because you never really find it all. It’s always there and just around the corner is something else you haven’t heard before, and it’s fantastic. Also, we’ve never really hit the big time, so we’re still a bit angry and pissed off enough that we can do the other stuff.\u003c/p>\n\u003cfigure id=\"attachment_13032475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13032475\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-800x450.jpg\" alt=\"Vanian with his daughter Emily, 12, on stage at Royal Albert Hall\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Vanian-daughter-@-the-Royal-Albert-Hall-20-5-2016-by-Dod-Morrison.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanian with his daughter Emily, 12, on stage at Royal Albert Hall \u003ccite>(Photo: Dod Morrison)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Yeah, you always seem able to write a great fast song.\u003c/b>\u003c/p>\n\u003cp>We’re not so blasé because we’ve done 60,000 in huge stadiums with millions of screaming kids. It would be nice, I guess, but I think you can get complacent quite easily that way.\u003c/p>\n\u003cp>\u003cb>I have to ask about what two old Damned bassists, Paul Gray and Bryn Merrick, said in the doc \u003ci>Don’t You Wish We Were Dead\u003c/i> — that playing in the Damned probably gave them cancer. (Merrick, who happily joked about the claim in the documentary, died of cancer in 2015).\u003c/b>\u003c/p>\n\u003cp>They would say that, now wouldn’t they. [Laughs]\u003c/p>\n\u003cp>\u003cb>Is playing in the Damned bad for your health?\u003c/b>\u003c/p>\n\u003cp>I’ll tell you what it is, and it’s a strange thing, but I used to see it all the time: When people used to come to the band to work for us, like a tour manager or a roadie, and sometimes even a band member, they would just go totally nuts. It was like the Damned was the excuse for them to let loose all their demons. “I’m going to drink 12 beers before breakfast” and all that kind of stuff.\u003c/p>\n\u003cp>Suddenly they’d go crazy, and then they’d keel over and wonder why. And though we were crazy and did a lot of crazy things, we all knew to handle what we were doing. Yeah, we were nuts, but we didn’t need 12 beers to do it. And it wasn’t full-on all the time. Otherwise, we wouldn’t be here; we would’ve been dead long ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim",
"headTitle": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim | KQED",
"content": "\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uU1mz6WburU\u003c/p>\n\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\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/uU1mz6WburU'\n title='//www.youtube.com/embed/uU1mz6WburU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.gf.org/news/foundation-news/fellowship-awards-in-the-united-states-and-canada-2017/\" target=\"_blank\" rel=\"noopener\">The Guggenheim Foundation\u003c/a> today named its 2017 fellows, and 16 are from Northern California, including \u003ca href=\"http://circozero.org/about/\" target=\"_blank\" rel=\"noopener\">Keith Hennessy\u003c/a>, a San Francisco choreographer.\u003c/p>\n\u003cp>“It’s pretty dramatic. It’s pretty exciting. We did apply for it, so we knew it was possible,” he says.\u003c/p>\n\u003cp>Hennessy and the other fellows, all what the Guggenheim Foundation calls “advanced professionals,” will get about $50,000 in an unrestricted grant.\u003c/p>\n\u003cfigure id=\"attachment_13018670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13018670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-800x530.jpg\" alt=\"Dancer and choreographer Keith Hennessy\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer and choreographer Keith Hennessy \u003ccite>(Photo: Courtesy of Keith Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area recipients include scholars in the fields of computer science and psychology, and \u003ca href=\"http://music.berkeley.edu/people/cindy-cox/\" target=\"_blank\" rel=\"noopener\">U.C. Berkeley Professor and composer Cindy Cox\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://music.stanford.edu/people/jesse-rodin\" target=\"_blank\" rel=\"noopener\">Jesse Rodin\u003c/a>, an associate professor at Stanford, also won a Guggenheim. He’s a specialist in late medieval and renaissance music, and leads a vocal ensemble that recently released a recording of music by Guillaume Du Fay. Rodin was amazed to discover that his grandfather won a Guggenheim in 1929.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Practically speaking,” Rodin says, “the fellowship means more time to work on my scholarship, and it brings visibility to the music I’m studying.”\u003c/p>\n\u003cp>Berkeley filmmaker \u003ca href=\"http://www.canepariphoto.com/\" target=\"_blank\" rel=\"noopener\">Zackary Canepari\u003c/a> says the money is critical to support his project \u003ca href=\"https://www.facebook.com/flintisaplace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flint is a Place\u003c/em>\u003c/a>, a web series he started five years ago about Flint, Michigan, mixing film, photography, poetry, found objects, and news stories.\u003c/p>\n\u003cp>“It’s an incredible honor,” Canepari said by phone from Flint. “This is an experimental documentary project, and being independent, finding funding is always the name of the game. So being awarded a Guggenheim Fellowship just provides so many opportunities to maintain the creative focus of the project, and be able to find an audience for it.”\u003c/p>\n\u003cfigure id=\"attachment_13018667\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13018667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208.jpg\" alt=\"Police in Flint Michigan, part of Guggenheim Fellowship winner Zackary Canepari's project 'Flint is a Place.'\" width=\"1380\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-160x46.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-800x228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-768x219.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-1020x290.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-1180x336.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-960x273.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-240x68.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-375x107.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-520x148.jpg 520w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">Police in Flint Michigan, part of Guggenheim Fellowship winner Zackary Canepari’s project ‘Flint is a Place.’ \u003ccite>(Courtesy of Zackary Canepari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy, on the other hand, says he’s not going to spend the money on his work. “This money just goes into my rainy day try-not-to-have-a-disaster-when-I’m-an-old-person fund,” says Hennessy, who is 58.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The real value of the Guggenheim is the brand,” Hennessy adds. “The word Guggenheim means ruling class power. So when you get that brand attached to you, a whole bunch of people think you’ve arrived or that you’re important. And that’s what I would hope would help me in future projects.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.gf.org/news/foundation-news/fellowship-awards-in-the-united-states-and-canada-2017/\" target=\"_blank\" rel=\"noopener\">The Guggenheim Foundation\u003c/a> today named its 2017 fellows, and 16 are from Northern California, including \u003ca href=\"http://circozero.org/about/\" target=\"_blank\" rel=\"noopener\">Keith Hennessy\u003c/a>, a San Francisco choreographer.\u003c/p>\n\u003cp>“It’s pretty dramatic. It’s pretty exciting. We did apply for it, so we knew it was possible,” he says.\u003c/p>\n\u003cp>Hennessy and the other fellows, all what the Guggenheim Foundation calls “advanced professionals,” will get about $50,000 in an unrestricted grant.\u003c/p>\n\u003cfigure id=\"attachment_13018670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13018670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-800x530.jpg\" alt=\"Dancer and choreographer Keith Hennessy\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Keith-Hennessy-Head-Shot.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer and choreographer Keith Hennessy \u003ccite>(Photo: Courtesy of Keith Hennessy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area recipients include scholars in the fields of computer science and psychology, and \u003ca href=\"http://music.berkeley.edu/people/cindy-cox/\" target=\"_blank\" rel=\"noopener\">U.C. Berkeley Professor and composer Cindy Cox\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://music.stanford.edu/people/jesse-rodin\" target=\"_blank\" rel=\"noopener\">Jesse Rodin\u003c/a>, an associate professor at Stanford, also won a Guggenheim. He’s a specialist in late medieval and renaissance music, and leads a vocal ensemble that recently released a recording of music by Guillaume Du Fay. Rodin was amazed to discover that his grandfather won a Guggenheim in 1929.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Practically speaking,” Rodin says, “the fellowship means more time to work on my scholarship, and it brings visibility to the music I’m studying.”\u003c/p>\n\u003cp>Berkeley filmmaker \u003ca href=\"http://www.canepariphoto.com/\" target=\"_blank\" rel=\"noopener\">Zackary Canepari\u003c/a> says the money is critical to support his project \u003ca href=\"https://www.facebook.com/flintisaplace/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flint is a Place\u003c/em>\u003c/a>, a web series he started five years ago about Flint, Michigan, mixing film, photography, poetry, found objects, and news stories.\u003c/p>\n\u003cp>“It’s an incredible honor,” Canepari said by phone from Flint. “This is an experimental documentary project, and being independent, finding funding is always the name of the game. So being awarded a Guggenheim Fellowship just provides so many opportunities to maintain the creative focus of the project, and be able to find an audience for it.”\u003c/p>\n\u003cfigure id=\"attachment_13018667\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13018667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208.jpg\" alt=\"Police in Flint Michigan, part of Guggenheim Fellowship winner Zackary Canepari's project 'Flint is a Place.'\" width=\"1380\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-160x46.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-800x228.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-768x219.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-1020x290.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-1180x336.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-960x273.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-240x68.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-375x107.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/police_trip-e1491609553208-520x148.jpg 520w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">Police in Flint Michigan, part of Guggenheim Fellowship winner Zackary Canepari’s project ‘Flint is a Place.’ \u003ccite>(Courtesy of Zackary Canepari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hennessy, on the other hand, says he’s not going to spend the money on his work. “This money just goes into my rainy day try-not-to-have-a-disaster-when-I’m-an-old-person fund,” says Hennessy, who is 58.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The real value of the Guggenheim is the brand,” Hennessy adds. “The word Guggenheim means ruling class power. So when you get that brand attached to you, a whole bunch of people think you’ve arrived or that you’re important. And that’s what I would hope would help me in future projects.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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. Each week, 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>, we’ll be posting a new song that responds to our current political climate.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Joan Baez has had a busy few days. With a \u003ca href=\"https://ww2.kqed.org/forum/2016/09/07/joan-baez-reflects-on-career-as-activist-singer/\" target=\"_blank\" rel=\"noopener\">career that spans nearly 60 years\u003c/a>, the singer-songwriter, who lives in Woodside, will be \u003ca href=\"https://ww2.kqed.org/arts/2017/04/05/baez-shakur-journey-make-odd-trio-for-rock-hall-of-fame/\" target=\"_blank\" rel=\"noopener\">inducted into the Rock and Roll Hall of Fame\u003c/a> this week at the age of 76. It’s an honor that recognizes Baez’s contributions to folk music over the span of her 30-plus albums. But what can’t really be quantified is her contribution to the realm of protest music: it’s tough to emphasize exactly how influential she’s been for generations of artists who see their work as a form of activism.\u003c/p>\n\u003cp>In between being feted (the induction ceremony takes place April 7), Baez found time to sit down and record a little ditty she wrote for our current president, accompanying herself on acoustic guitar. Lyrically, it’s a remarkably efficient burn: after getting in a dig at the media for its tepidness, she paints a portrait of President Trump as a bumbling fool stomping his way around the White House grounds. She also questions the mental faculties of the “future dictator,” speculates on the state of his marriage and, finally, imagines the sweet day when the “dirt” has hit the fan — and no one pays any attention to Trump’s Twitter account.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FOfficialJoanBaez%2Fvideos%2F10155131646864417%2F&width=500&show_text=false&height=280&appId\" width=\"500\" height=\"280\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is, to be sure, far from the first time Baez has shared her thoughts on our current president. In the video below, she talks to Palo Alto Online at a protest about a week after the election, calling Trump an “empty vessel.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lS2EzL_5FQU\u003c/p>\n\u003cp>Baez recently told the \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php?t=756e051315&cmpid=twitter-premium\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> she’ll be releasing one last album, aptly titled \u003cem>Fare Thee Well\u003c/em>, before retiring next year — from recording and touring, that is. Based on her recent appearances at rallies and protests, like this \u003ca href=\"http://www.sfgate.com/bayarea/article/S-F-rally-to-save-Obamacare-draws-Joan-Baez-10859382.php\" target=\"_blank\" rel=\"noopener\">San Francisco rally in support of Obamacare\u003c/a>, she won’t be giving up the fight for social justice anytime soon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is, to be sure, far from the first time Baez has shared her thoughts on our current president. In the video below, she talks to Palo Alto Online at a protest about a week after the election, calling Trump an “empty vessel.”\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/lS2EzL_5FQU'\n title='//www.youtube.com/embed/lS2EzL_5FQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Baez recently told the \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php?t=756e051315&cmpid=twitter-premium\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> she’ll be releasing one last album, aptly titled \u003cem>Fare Thee Well\u003c/em>, before retiring next year — from recording and touring, that is. Based on her recent appearances at rallies and protests, like this \u003ca href=\"http://www.sfgate.com/bayarea/article/S-F-rally-to-save-Obamacare-draws-Joan-Baez-10859382.php\" target=\"_blank\" rel=\"noopener\">San Francisco rally in support of Obamacare\u003c/a>, she won’t be giving up the fight for social justice anytime soon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Our theory was simple,” \u003ca href=\"https://news.spotify.com/us/2014/11/11/2-billion-and-counting/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> Daniel Ek, co-founder and CEO of Spotify, in 2014, “offer a terrific free tier, supported by advertising, as a starting point to attract fans and get them in the door.”\u003c/p>\n\u003cp>So what happens after everybody’s crossed the threshold?\u003c/p>\n\u003cp>At the time Ek wrote that post he was reacting to the high-visibility \u003ca href=\"https://www.theguardian.com/music/2014/nov/04/taylor-swift-spotify-streaming-album-sales-snub\" target=\"_blank\" rel=\"noopener\">exit of Taylor Swift\u003c/a> from his platform over a disagreement (to put it kindly) about the vast catalog of “free” (what the industry refers to as “ad-supported”) streaming music it offered. At the time, Spotify had 12.5 million paying users and 37.5 million listening for free — it now has 50 million subscribers and at least 50 million free listeners. Through that growth, the company has vehemently (and in that blog post from Ek, quite dramatically) defended its two-tier “freemium” approach — free streaming with ads and paid subscriptions with no ads — despite repeated criticism from artists over the much lower royalty rates it paid for those ad-supported streams.\u003c/p>\n\u003cp>No longer. This week, Spotify relented, agreeing to withhold certain albums from the free tier of listeners. For a two-week window following their release dates, certain albums will only be available to paying subscribers. The deal was struck after a two-year-long negotiation with Universal Music, the world’s largest record label, over the structure and cost of licensing the label’s music. “We know that not every album by every artist should be released the same way,” Ek wrote, surprisingly matter-of-fact, yesterday. \u003ca href=\"http://www.billboard.com/articles/business/7751469/spotify-universal-music-group-deal-who-wins-loses\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard \u003c/em>reports\u003c/a> that in return, Spotify got UMG to agree to lower royalty fees for hitting revenue targets.\u003c/p>\n\u003cp>“In a market this dynamic,” Universal Music chairman and CEO Lucian Grainge wrote\u003cstrong>\u003cem>*\u003c/em>\u003c/strong> of the deal yesterday (Apr. 4), “one evolving more rapidly than ever before, success requires creative and continual re-evaluation of how best to bring artists’ music to fans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>(\u003cstrong>*Note:\u003c/strong> Some possible motivation for Universal’s negotiating position can be traced to the moment in 2016 when Grainge and the label were the butt of a \u003ca href=\"http://www.billboard.com/articles/business/7487032/frank-ocean-endless-album-straw-broke-universal-music-back-may-get-sued\" target=\"_blank\" rel=\"noopener\">contractual joke\u003c/a> engineered by none other than Frank Ocean, who used the release of his 45-minute-long visual album \u003c/em>Endless\u003cem> to satisfy his contract with Universal Music. Hours later, he released his “proper” album, \u003c/em>Blonde\u003cem>, as a self-released exclusive on Apple Music. Grainge reacted swiftly, calling for an end to all platform-specific album exclusives like Ocean’s. Grainge already had, for years at that point, \u003ca href=\"https://www.recode.net/2015/3/8/11559930/universal-music-ceo-lucian-grainge-wants-you-to-pay-up-the-codemedia\" target=\"_blank\" rel=\"noopener\">been criticizing\u003c/a>\u003c/em>\u003cem> free streaming.)\u003c/em>\u003c/p>\n\u003cp>A key element of the dynamism that Grainge seems to be referencing here is the fact that, unlike at the time of Ek’s blog post, a huge number of listeners are now “in the door.” Streaming is both the dominant source of revenue for the major labels (“streaming represents the majority of the business,” as Grainge wrote yesterday) and the primary way the western world accesses music. The industry is no longer as willing to subsidize Spotify’s growth (which has translated into its\u003cem> own\u003c/em> success). And so we come to the death, by natural market causes, of a favorite Silicon Valley business \u003ca href=\"http://www.businessinsider.com/why-uber-won-2016-4\" target=\"_blank\" rel=\"noopener\">strategy\u003c/a>.\u003c/p>\n\u003cp>Now, the writing is on the wall for music fans — if you want to hear what you want to hear when you want to hear it in the friction-free and anywhere-access way you’ve become accustomed, the time is fast-approaching when you will be required to pay up.\u003c/p>\n\u003cp>Spotify’s deal with Universal (as well as contracts with Warner Music and Sony Music which are still under negotiation) is not the only thing threatening Spotify’s free tier. One month ago in Washington, D.C. a byzantine and little-known process, overseen by a panel of three judges named the Copyright Royalty Board, began to determine the rates that Spotify and its competitors will pay not to recording artists or labels but songwriters and music publishers.\u003c/p>\n\u003cp>Put simply (this part of the music business can induce headaches), this process involves the filing of arguments by companies about how much they should pay to license song compositions — and some of these arguments would all but annihilate Spotify’s free tier. Apple, arguing on behalf of Apple Music — which has become Spotify’s lead competitor since its launch a little less than two years ago — \u003ca href=\"https://www.loc.gov/crb/rate/16-CRB-0003-PR/statements/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> “Interactive streaming services do not need to be ‘protected.'” \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>What Apple is referring to is \u003ca href=\"https://www.loc.gov/crb/rate/16-CRB-0003-PR/statements/spotify/testimony-leslie-marx.pdf\" target=\"_blank\" rel=\"noopener\">Spotify’s own\u003c/a> arguments to the Board, in which the company spends a significant amount of time defending free listening. Apple posits that Spotify’s arguments to save its free tier amount to institutional protection. To that end, it has proposed a royalty rate that would, if accepted, essentially force Spotify to shutter its free tier, by making it pay the same royalty on paid and free streams. Songwriters have done essentially the same, asking for a raise and a similar change to the structure of their royalties from streaming services.\u003c/p>\n\u003cp>The Copyright Royalty Board revisits these rates every five years. The last time it met, it kept rates the same. But the music business has changed so vastly since 2012 that the argument to keep things as they are is now more difficult to defend. (We’ll find out in December, when the CRB expected to issue its decision.)\u003c/p>\n\u003cp>Now that the traditional music business, made up of the major labels and major publishers, has some semblance of stability after a decade-and-a-half of economic diminution and strategic chaos, it’s back on the offensive. Killing free streaming is one fight. Spreading its bets through licensing to virtual reality endeavors and being more open-minded to licensing its catalog to social startups — as \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/09/513912687/what-big-techs-quarterly-reports-say-about-the-future-of-music\" target=\"_blank\" rel=\"noopener\">we covered\u003c/a> in early February — is another.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Listeners, musicians and tech companies are through the door now. Spotify, an extremely important source of revenue for the music industry, now has to worry about the next milestone — \u003ca href=\"https://www.nytimes.com/2017/04/04/business/media/spotify-universal-music-group-licensing.html\" target=\"_blank\" rel=\"noopener\">going public\u003c/a>. (\u003ca href=\"https://www.wsj.com/articles/spotify-finally-readies-an-ipo-thats-not-an-ipo-1491476403?mod=e2tw\">A report\u003c/a> from \u003cem>The Wall Street Journal\u003c/em> today says the company may pursue a type of initial offering that could be more lucrative for its equity holders, which include the three major record labels.) After years of the industry softly subsidizing Spotify’s growth into a mature business, they now want it to start acting like one.\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=Are+We+Witnessing+The+Beginning+Of+The+End+For+Free+Music+Streaming%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Our theory was simple,” \u003ca href=\"https://news.spotify.com/us/2014/11/11/2-billion-and-counting/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> Daniel Ek, co-founder and CEO of Spotify, in 2014, “offer a terrific free tier, supported by advertising, as a starting point to attract fans and get them in the door.”\u003c/p>\n\u003cp>So what happens after everybody’s crossed the threshold?\u003c/p>\n\u003cp>At the time Ek wrote that post he was reacting to the high-visibility \u003ca href=\"https://www.theguardian.com/music/2014/nov/04/taylor-swift-spotify-streaming-album-sales-snub\" target=\"_blank\" rel=\"noopener\">exit of Taylor Swift\u003c/a> from his platform over a disagreement (to put it kindly) about the vast catalog of “free” (what the industry refers to as “ad-supported”) streaming music it offered. At the time, Spotify had 12.5 million paying users and 37.5 million listening for free — it now has 50 million subscribers and at least 50 million free listeners. Through that growth, the company has vehemently (and in that blog post from Ek, quite dramatically) defended its two-tier “freemium” approach — free streaming with ads and paid subscriptions with no ads — despite repeated criticism from artists over the much lower royalty rates it paid for those ad-supported streams.\u003c/p>\n\u003cp>No longer. This week, Spotify relented, agreeing to withhold certain albums from the free tier of listeners. For a two-week window following their release dates, certain albums will only be available to paying subscribers. The deal was struck after a two-year-long negotiation with Universal Music, the world’s largest record label, over the structure and cost of licensing the label’s music. “We know that not every album by every artist should be released the same way,” Ek wrote, surprisingly matter-of-fact, yesterday. \u003ca href=\"http://www.billboard.com/articles/business/7751469/spotify-universal-music-group-deal-who-wins-loses\" target=\"_blank\" rel=\"noopener\">\u003cem>Billboard \u003c/em>reports\u003c/a> that in return, Spotify got UMG to agree to lower royalty fees for hitting revenue targets.\u003c/p>\n\u003cp>“In a market this dynamic,” Universal Music chairman and CEO Lucian Grainge wrote\u003cstrong>\u003cem>*\u003c/em>\u003c/strong> of the deal yesterday (Apr. 4), “one evolving more rapidly than ever before, success requires creative and continual re-evaluation of how best to bring artists’ music to fans.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(\u003cstrong>*Note:\u003c/strong> Some possible motivation for Universal’s negotiating position can be traced to the moment in 2016 when Grainge and the label were the butt of a \u003ca href=\"http://www.billboard.com/articles/business/7487032/frank-ocean-endless-album-straw-broke-universal-music-back-may-get-sued\" target=\"_blank\" rel=\"noopener\">contractual joke\u003c/a> engineered by none other than Frank Ocean, who used the release of his 45-minute-long visual album \u003c/em>Endless\u003cem> to satisfy his contract with Universal Music. Hours later, he released his “proper” album, \u003c/em>Blonde\u003cem>, as a self-released exclusive on Apple Music. Grainge reacted swiftly, calling for an end to all platform-specific album exclusives like Ocean’s. Grainge already had, for years at that point, \u003ca href=\"https://www.recode.net/2015/3/8/11559930/universal-music-ceo-lucian-grainge-wants-you-to-pay-up-the-codemedia\" target=\"_blank\" rel=\"noopener\">been criticizing\u003c/a>\u003c/em>\u003cem> free streaming.)\u003c/em>\u003c/p>\n\u003cp>A key element of the dynamism that Grainge seems to be referencing here is the fact that, unlike at the time of Ek’s blog post, a huge number of listeners are now “in the door.” Streaming is both the dominant source of revenue for the major labels (“streaming represents the majority of the business,” as Grainge wrote yesterday) and the primary way the western world accesses music. The industry is no longer as willing to subsidize Spotify’s growth (which has translated into its\u003cem> own\u003c/em> success). And so we come to the death, by natural market causes, of a favorite Silicon Valley business \u003ca href=\"http://www.businessinsider.com/why-uber-won-2016-4\" target=\"_blank\" rel=\"noopener\">strategy\u003c/a>.\u003c/p>\n\u003cp>Now, the writing is on the wall for music fans — if you want to hear what you want to hear when you want to hear it in the friction-free and anywhere-access way you’ve become accustomed, the time is fast-approaching when you will be required to pay up.\u003c/p>\n\u003cp>Spotify’s deal with Universal (as well as contracts with Warner Music and Sony Music which are still under negotiation) is not the only thing threatening Spotify’s free tier. One month ago in Washington, D.C. a byzantine and little-known process, overseen by a panel of three judges named the Copyright Royalty Board, began to determine the rates that Spotify and its competitors will pay not to recording artists or labels but songwriters and music publishers.\u003c/p>\n\u003cp>Put simply (this part of the music business can induce headaches), this process involves the filing of arguments by companies about how much they should pay to license song compositions — and some of these arguments would all but annihilate Spotify’s free tier. Apple, arguing on behalf of Apple Music — which has become Spotify’s lead competitor since its launch a little less than two years ago — \u003ca href=\"https://www.loc.gov/crb/rate/16-CRB-0003-PR/statements/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> “Interactive streaming services do not need to be ‘protected.'” \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>What Apple is referring to is \u003ca href=\"https://www.loc.gov/crb/rate/16-CRB-0003-PR/statements/spotify/testimony-leslie-marx.pdf\" target=\"_blank\" rel=\"noopener\">Spotify’s own\u003c/a> arguments to the Board, in which the company spends a significant amount of time defending free listening. Apple posits that Spotify’s arguments to save its free tier amount to institutional protection. To that end, it has proposed a royalty rate that would, if accepted, essentially force Spotify to shutter its free tier, by making it pay the same royalty on paid and free streams. Songwriters have done essentially the same, asking for a raise and a similar change to the structure of their royalties from streaming services.\u003c/p>\n\u003cp>The Copyright Royalty Board revisits these rates every five years. The last time it met, it kept rates the same. But the music business has changed so vastly since 2012 that the argument to keep things as they are is now more difficult to defend. (We’ll find out in December, when the CRB expected to issue its decision.)\u003c/p>\n\u003cp>Now that the traditional music business, made up of the major labels and major publishers, has some semblance of stability after a decade-and-a-half of economic diminution and strategic chaos, it’s back on the offensive. Killing free streaming is one fight. Spreading its bets through licensing to virtual reality endeavors and being more open-minded to licensing its catalog to social startups — as \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/09/513912687/what-big-techs-quarterly-reports-say-about-the-future-of-music\" target=\"_blank\" rel=\"noopener\">we covered\u003c/a> in early February — is another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listeners, musicians and tech companies are through the door now. Spotify, an extremely important source of revenue for the music industry, now has to worry about the next milestone — \u003ca href=\"https://www.nytimes.com/2017/04/04/business/media/spotify-universal-music-group-licensing.html\" target=\"_blank\" rel=\"noopener\">going public\u003c/a>. (\u003ca href=\"https://www.wsj.com/articles/spotify-finally-readies-an-ipo-thats-not-an-ipo-1491476403?mod=e2tw\">A report\u003c/a> from \u003cem>The Wall Street Journal\u003c/em> today says the company may pursue a type of initial offering that could be more lucrative for its equity holders, which include the three major record labels.) After years of the industry softly subsidizing Spotify’s growth into a mature business, they now want it to start acting like one.\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=Are+We+Witnessing+The+Beginning+Of+The+End+For+Free+Music+Streaming%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Baez, Shakur & Journey Make Odd Trio for Rock Hall of Fame",
"headTitle": "Baez, Shakur & Journey Make Odd Trio for Rock Hall of Fame | KQED",
"content": "\u003cp>The Bay Area is sending three of its best to the \u003ca href=\"https://www.rockhall.com/2017-induction-class\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame on Friday, Apr. 7.\u003c/a> Joan Baez, Tupac Shakur, and the band Journey will be inducted in a ceremony in Brooklyn. It’s a trio from three very different corners of the rock universe.\u003c/p>\n\u003cp>\u003cstrong>Joan Baez: A folk singer with pop star reach \u003c/strong>\u003c/p>\n\u003cp>Baez, who lives in Woodside, debuted at the Newport Folk Festival at 18 in 1959, around the time she earned the nickname “The Barefoot Madonna,” because she often performed without shoes. The 60s were a time when folk music was just as big as rock and roll, and far more political. So Baez, her mentor Pete Seeger, and her onetime boyfriend Bob Dylan (whose career she boosted), among others, could score pop hits. This was possible even as they protested the Vietnam War, or, as Baez did, lead hundreds of thousands in singing “We Shall Overcome” at the March on Washington in 1963.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7akuOFp-ET8\u003c/p>\n\u003cp>Baez \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle\u003c/a> recently she’s issuing one last album, \u003cem>Fare Thee Well\u003c/em>, before retiring after 58 years of performing and recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tupac Shakur: A contradictory character\u003c/strong>\u003c/p>\n\u003cp>Politics is one point of similarity between Baez and Oakland’s Tupac Shakur. He was the son of Black Panther parents, and wrote smart lyrics about racial injustice and the perils of gangster life. Shakur was convicted on sexual assault charges, and he became a player in an infamous East coast-West coast rivalry that probably got him killed in a drive-by shooting in 1996, when he was just 25 years old.\u003c/p>\n\u003cp>You can hear some of the contradictions in Shakur’s life and work in a song like “Dear Mama,” added a few years ago to the National Recording Registry in the Library of Congress. Shakur wrote it for his mother Afeni Shakur, with lyrics that both extolled her and called her out for being a crackhead.\u003c/p>\n\u003cblockquote>\u003cp>“For a woman it ain’t easy trying to raise a man\u003cbr>\nYou always was committed\u003cbr>\nA poor single mother on welfare, tell me how ya did it\u003cbr>\nThere’s no way I can pay you back\u003cbr>\nBut the plan is to show you that I understand\u003cbr>\nYou are appreciated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mb1ZvUDvLDY\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Journey: A controversial choice?\u003c/strong>\u003c/p>\n\u003cp>In some ways, San Francisco’s Journey is the most controversial choice for the Rock and Roll Hall of Fame. People have strong feelings about a band that’s synonymous with bombastic arena rock. There’s an \u003ca href=\"https://www.facebook.com/groups/2205093643/\" target=\"_blank\" rel=\"noopener\">“I Hate Journey”\u003c/a> Facebook page, where comments include, “A lot of their music came across as insincere corporate pap.”\u003c/p>\n\u003cp>Still, the band has remained enormously popular for decades. Before co-founding Journey, lead guitarist Neil Schon was a member of Santana, and during Journey’s heyday in the 1970’s and 1980’s, the band wrote and recorded songs with easy-to-like lyrics and great musical hooks, like “Wheel in the Sky,” and “Don’t Stop Believin’,” a song that reached a new generation after it was featured on the TV show \u003cem>Glee\u003c/em> in 2009.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VcjzHMhBtf0\u003c/p>\n\u003cp>Journey’s personnel has changed a lot over the years, with only Schon surviving from the band’s first gig in 1973. This is another cause of controversy regarding the band’s induction into the Rock and Roll Hall of Fame. \u003ca href=\"https://consequenceofsound.net/2017/03/sorry-journey-fans-steve-perry-will-skedaddle-before-the-bands-rock-and-roll-hall-of-fame-performance/\" target=\"_blank\" rel=\"noopener\">Former lead singer Steve Perry is scheduled to appear at the induction ceremony, but Schon has said Perry won’t sing with the band. \u003c/a>That honor will go to Arnel Pineda, who has been touring and recording with Journey since 2007.\u003c/p>\n\u003cp>\u003cstrong>Past Bay Area Hall of Famers\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hbo.com/2017-rock-and-roll-hall-of-fame-induction-ceremony/about/index.html\" target=\"_blank\" rel=\"noopener\">The induction ceremony will air on HBO\u003c/a>. Another way to honor the Bay Area’s current and \u003ca href=\"http://www.sfgate.com/music/article/Rock-Roll-Hall-of-Fame-inductees-with-Bay-Area-5960478.php\" target=\"_blank\" rel=\"noopener\">former\u003c/a> Hall of Fame members is to visit Oakland’s Chapel of the Chimes, \u003ca href=\"https://ww2.kqed.org/news/2014/07/05/chapel_of_the_chimes_oakland/\" target=\"_blank\" rel=\"noopener\">where inductee (1991) John Lee Hooker has a crypt\u003c/a> inscribed with the words “King of the Boogie.”\u003c/p>\n\n",
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"excerpt": "On Friday, Apr. 7, the folk singer, late hip-hop artist and stadium rock band will be inducted into the Rock and Roll Hall of Fame. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is sending three of its best to the \u003ca href=\"https://www.rockhall.com/2017-induction-class\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame on Friday, Apr. 7.\u003c/a> Joan Baez, Tupac Shakur, and the band Journey will be inducted in a ceremony in Brooklyn. It’s a trio from three very different corners of the rock universe.\u003c/p>\n\u003cp>\u003cstrong>Joan Baez: A folk singer with pop star reach \u003c/strong>\u003c/p>\n\u003cp>Baez, who lives in Woodside, debuted at the Newport Folk Festival at 18 in 1959, around the time she earned the nickname “The Barefoot Madonna,” because she often performed without shoes. The 60s were a time when folk music was just as big as rock and roll, and far more political. So Baez, her mentor Pete Seeger, and her onetime boyfriend Bob Dylan (whose career she boosted), among others, could score pop hits. This was possible even as they protested the Vietnam War, or, as Baez did, lead hundreds of thousands in singing “We Shall Overcome” at the March on Washington in 1963.\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/7akuOFp-ET8'\n title='//www.youtube.com/embed/7akuOFp-ET8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Baez \u003ca href=\"http://www.sfchronicle.com/music/article/Joan-Baez-opens-up-on-retirement-Rock-Hall-11044107.php\" target=\"_blank\" rel=\"noopener\">told the San Francisco Chronicle\u003c/a> recently she’s issuing one last album, \u003cem>Fare Thee Well\u003c/em>, before retiring after 58 years of performing and recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tupac Shakur: A contradictory character\u003c/strong>\u003c/p>\n\u003cp>Politics is one point of similarity between Baez and Oakland’s Tupac Shakur. He was the son of Black Panther parents, and wrote smart lyrics about racial injustice and the perils of gangster life. Shakur was convicted on sexual assault charges, and he became a player in an infamous East coast-West coast rivalry that probably got him killed in a drive-by shooting in 1996, when he was just 25 years old.\u003c/p>\n\u003cp>You can hear some of the contradictions in Shakur’s life and work in a song like “Dear Mama,” added a few years ago to the National Recording Registry in the Library of Congress. Shakur wrote it for his mother Afeni Shakur, with lyrics that both extolled her and called her out for being a crackhead.\u003c/p>\n\u003cblockquote>\u003cp>“For a woman it ain’t easy trying to raise a man\u003cbr>\nYou always was committed\u003cbr>\nA poor single mother on welfare, tell me how ya did it\u003cbr>\nThere’s no way I can pay you back\u003cbr>\nBut the plan is to show you that I understand\u003cbr>\nYou are appreciated.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mb1ZvUDvLDY\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Journey: A controversial choice?\u003c/strong>\u003c/p>\n\u003cp>In some ways, San Francisco’s Journey is the most controversial choice for the Rock and Roll Hall of Fame. People have strong feelings about a band that’s synonymous with bombastic arena rock. There’s an \u003ca href=\"https://www.facebook.com/groups/2205093643/\" target=\"_blank\" rel=\"noopener\">“I Hate Journey”\u003c/a> Facebook page, where comments include, “A lot of their music came across as insincere corporate pap.”\u003c/p>\n\u003cp>Still, the band has remained enormously popular for decades. Before co-founding Journey, lead guitarist Neil Schon was a member of Santana, and during Journey’s heyday in the 1970’s and 1980’s, the band wrote and recorded songs with easy-to-like lyrics and great musical hooks, like “Wheel in the Sky,” and “Don’t Stop Believin’,” a song that reached a new generation after it was featured on the TV show \u003cem>Glee\u003c/em> in 2009.\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/VcjzHMhBtf0'\n title='//www.youtube.com/embed/VcjzHMhBtf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Journey’s personnel has changed a lot over the years, with only Schon surviving from the band’s first gig in 1973. This is another cause of controversy regarding the band’s induction into the Rock and Roll Hall of Fame. \u003ca href=\"https://consequenceofsound.net/2017/03/sorry-journey-fans-steve-perry-will-skedaddle-before-the-bands-rock-and-roll-hall-of-fame-performance/\" target=\"_blank\" rel=\"noopener\">Former lead singer Steve Perry is scheduled to appear at the induction ceremony, but Schon has said Perry won’t sing with the band. \u003c/a>That honor will go to Arnel Pineda, who has been touring and recording with Journey since 2007.\u003c/p>\n\u003cp>\u003cstrong>Past Bay Area Hall of Famers\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hbo.com/2017-rock-and-roll-hall-of-fame-induction-ceremony/about/index.html\" target=\"_blank\" rel=\"noopener\">The induction ceremony will air on HBO\u003c/a>. Another way to honor the Bay Area’s current and \u003ca href=\"http://www.sfgate.com/music/article/Rock-Roll-Hall-of-Fame-inductees-with-Bay-Area-5960478.php\" target=\"_blank\" rel=\"noopener\">former\u003c/a> Hall of Fame members is to visit Oakland’s Chapel of the Chimes, \u003ca href=\"https://ww2.kqed.org/news/2014/07/05/chapel_of_the_chimes_oakland/\" target=\"_blank\" rel=\"noopener\">where inductee (1991) John Lee Hooker has a crypt\u003c/a> inscribed with the words “King of the Boogie.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How can you tell when a hip-hop crew is from the Bay Area?\u003c/p>\n\u003cp>It’s not the free-spirited yet politically aware vibe baked into each and every track, whether it’s a party jam or a love song. And — speaking of baked — it’s not the joint-smoking before and/or during an interview (that’s hardly region-specific, though the quality of the marijuana might be).\u003c/p>\n\u003cp>No, you know a trio of young rappers grew up in the Bay Area when they keep bringing up astrology. And they’re kind of kidding, but they’re also really not.\u003c/p>\n\u003cp>“We just had good chemistry really organically, and there were all these signs,” Dayvid Michael tells me of \u003ca href=\"http://www.d2e3d.com/\" target=\"_blank\" rel=\"noopener\">Down 2 Earth\u003c/a>, the hip-hop group whose sophomore release, \u003ca href=\"https://soundcloud.com/down2earth/sets/fair-share\" target=\"_blank\" rel=\"noopener\">\u003cem>Fair Share\u003c/em>\u003c/a>, dropped April 4. He leans forward, scoots to the edge of the couch at his Oakland apartment, and ponders this. “Azure’s an Aquarius, which is an air sign, Clyde is a Virgo, which is an earth sign, and I’m a Sagittarius, which is a fire sign.\u003c/p>\n\u003cp>“Earth, wind and fire,” he concludes with a mischievous grin. Kinda kidding. But also really not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether the stars literally aligned in order for these three young men to meet in 2013 and start making music is up for debate. But to Dayvid Michael, Azure and Clyde Shankle, at least, there’s something that feels fated about the songs they create together, and the effect is contagious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RreuKHw54ME\u003c/p>\n\u003cp>In an era when skittish trap beats, Autotune and cold industrial sounds rule the rap landscape, Down 2 Earth (D2E for short) are harkening back to a hip-hop that’s warm, charming and, at turns, goofy. Sampling old-school funk and soul horn lines one moment and Beck guitar riffs the next, the trio play off each other, taking turns rapping on tracks like they take turns making each other bust out laughing. Three of the tracks on their new 14-track record are actually skits. This album sounds like the summer after high school; like reclining the passenger seat way back in your best friend’s car as you head out to cruise around on a balmy night, with nowhere in particular to go.\u003c/p>\n\u003cp>Which is not to say it’s unpolished: Azure, at 29 the senior member of the crew, came to the group with a solid following from his four solo albums. He’s also spent the last few years as the go-to DJ for the \u003ca href=\"https://www.facebook.com/thehbkgang/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>, the hip-hop collective founded by \u003ca href=\"https://www.facebook.com/iamsumusic/\" target=\"_blank\" rel=\"noopener\">Iamsu!\u003c/a> and Sage the Gemini that’s spent the last few years steadily blowing up — in terms of national attention, a crew regarded by many as the heir to the hyphy movement.\u003c/p>\n\u003cp>Dayvid Michael, 24, and Clyde Shankle, 23, both honed their emcee skills on solo recordings, and as members of the hip-hop collective \u003ca href=\"https://www.facebook.com/CalimadeProductions/\" target=\"_blank\" rel=\"noopener\">Calimade\u003c/a>. Their individual experiences as solo artists, they find, has only helped make the collaborative effort that much sweeter — they each know their strengths (loosely, Azure on beats; Clyde on samples; Dayvid is the hookmaster) and are happy to take turns in the spotlight.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275964707″ 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>Acknowledging that some might find collaborative rap “cheesy,” the trio also don’t mind that their configuration helps them stick out in the current landscape of Bay Area rap, where solo artists are a dime a dozen: “Everyone wants the shine for themselves,” says David.\u003c/p>\n\u003cp>“[But] there’s nothing quite like the energy that you get when you’re collaborating on a common idea,” he says. “And performing with more than one person on stage is just so much more of a rush, a thrill, and I think a more exciting experience for the viewer.”\u003c/p>\n\u003cp>Live shows aside, the listening experience with \u003cem>Fair Share\u003c/em> — its title another nod to the ease with which the three share the spotlight — calls to mind early Hieroglyphics records, with a combination of laid-back samples, pride in Oakland, and a community-oriented social consciousness just barely under the lyrics’ surface.\u003c/p>\n\u003cp>Down 2 Earth are wary of the pitfalls of getting pigeonholed as “conscious” rap, and this record is shorter on the positive platitudes than their 2015 debut \u003cem>Wildfire\u003c/em>. But they’re Bay Area natives after all: Azure’s from Pinole, Dayvid’s from Oakland, and Clyde from Berkeley. They have no shortage of political opinions.\u003c/p>\n\u003cp>“I wanted to be an activist originally,” says Clyde, who works as a counselor at a substance abuse nonprofit. “But being a musician allows you to be both, right?”\u003c/p>\n\u003cp>Growing up, he says, he doesn’t recall a time when not being socially aware was an option — he remembers watching the news on TV in the mornings before school as opposed to cartoons — and even he is sometimes taken by surprise at how that comes out in his writing: “I’ll be like, alright, I’m just gas. I’ll just rap. And then it ends up being like ‘Save the animals, love the planet…'” He laughs. “Every time.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/308927757″ 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>Gentrification — “the g-word” as Dayvid says — weighs heavily on the trio as well, though they’re hesitant to contribute to that being the only story ever written about Bay Area artists.\u003c/p>\n\u003cp>“I worry about San Francisco’s future a lot,” says Azure. “I grew up wanting to live there, maybe even have a family there. But it’s crazy, especially as a DJ, to see the way the crowds have transformed. It’s not just a [race thing], it’s not ‘Look at these white people’ — it’s the type of people. It’s what do you for a living, where you’re from.”\u003c/p>\n\u003cp>Playing a show to Bay Area natives, he says, feels like a rarity; meanwhile, artists he’s looked up to are getting pushed out, heading for Sacramento or farther, LA or New York. It makes D2E’s budding acclaim and professionalism — they’re spending the hours after this interview moving equipment into a new studio space at Jingletown in East Oakland — feel that much more like they’ve stumbled on a secret recipe, a precarious but unmistakable bright spot on an increasingly hard-to-find map to music industry success.\u003c/p>\n\u003cp>Wherever they wind up, they’ll be repping where they’re from — though, despite track titles like “Divisadero,” D2E say they’d rather represent the Bay through their sound than overt lyrics. There’s a groove, a sonic undercurrent, they say, and if you know it, you know they couldn’t have grown up anywhere else.\u003c/p>\n\u003cp>“The groove is always the first stop, more so than the topic,” says Azure. “It needs to \u003cem>feel\u003c/em> a certain way. That, to me, is synonymous with the Bay.”\u003c/p>\n\u003cp>And if you can’t pick up on that? It’s possible you haven’t been in the Bay Area long enough. Or, hey: check the charts. Maybe Mercury is in retrograde.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Down 2 Earth perform Wednesday, April 19 at Slim’s with Murs. \u003ca href=\"http://www.slimspresents.com/event/murs-slims/\" target=\"_blank\" rel=\"noopener\">Tickets ($21) and more info here\u003c/a>. They’ll also appear Thursday, April 27 at The New Parish with Locksmith and J. Lately. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7257795&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Tickets ($10) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How can you tell when a hip-hop crew is from the Bay Area?\u003c/p>\n\u003cp>It’s not the free-spirited yet politically aware vibe baked into each and every track, whether it’s a party jam or a love song. And — speaking of baked — it’s not the joint-smoking before and/or during an interview (that’s hardly region-specific, though the quality of the marijuana might be).\u003c/p>\n\u003cp>No, you know a trio of young rappers grew up in the Bay Area when they keep bringing up astrology. And they’re kind of kidding, but they’re also really not.\u003c/p>\n\u003cp>“We just had good chemistry really organically, and there were all these signs,” Dayvid Michael tells me of \u003ca href=\"http://www.d2e3d.com/\" target=\"_blank\" rel=\"noopener\">Down 2 Earth\u003c/a>, the hip-hop group whose sophomore release, \u003ca href=\"https://soundcloud.com/down2earth/sets/fair-share\" target=\"_blank\" rel=\"noopener\">\u003cem>Fair Share\u003c/em>\u003c/a>, dropped April 4. He leans forward, scoots to the edge of the couch at his Oakland apartment, and ponders this. “Azure’s an Aquarius, which is an air sign, Clyde is a Virgo, which is an earth sign, and I’m a Sagittarius, which is a fire sign.\u003c/p>\n\u003cp>“Earth, wind and fire,” he concludes with a mischievous grin. Kinda kidding. But also really not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether the stars literally aligned in order for these three young men to meet in 2013 and start making music is up for debate. But to Dayvid Michael, Azure and Clyde Shankle, at least, there’s something that feels fated about the songs they create together, and the effect is contagious.\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/RreuKHw54ME'\n title='//www.youtube.com/embed/RreuKHw54ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an era when skittish trap beats, Autotune and cold industrial sounds rule the rap landscape, Down 2 Earth (D2E for short) are harkening back to a hip-hop that’s warm, charming and, at turns, goofy. Sampling old-school funk and soul horn lines one moment and Beck guitar riffs the next, the trio play off each other, taking turns rapping on tracks like they take turns making each other bust out laughing. Three of the tracks on their new 14-track record are actually skits. This album sounds like the summer after high school; like reclining the passenger seat way back in your best friend’s car as you head out to cruise around on a balmy night, with nowhere in particular to go.\u003c/p>\n\u003cp>Which is not to say it’s unpolished: Azure, at 29 the senior member of the crew, came to the group with a solid following from his four solo albums. He’s also spent the last few years as the go-to DJ for the \u003ca href=\"https://www.facebook.com/thehbkgang/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>, the hip-hop collective founded by \u003ca href=\"https://www.facebook.com/iamsumusic/\" target=\"_blank\" rel=\"noopener\">Iamsu!\u003c/a> and Sage the Gemini that’s spent the last few years steadily blowing up — in terms of national attention, a crew regarded by many as the heir to the hyphy movement.\u003c/p>\n\u003cp>Dayvid Michael, 24, and Clyde Shankle, 23, both honed their emcee skills on solo recordings, and as members of the hip-hop collective \u003ca href=\"https://www.facebook.com/CalimadeProductions/\" target=\"_blank\" rel=\"noopener\">Calimade\u003c/a>. Their individual experiences as solo artists, they find, has only helped make the collaborative effort that much sweeter — they each know their strengths (loosely, Azure on beats; Clyde on samples; Dayvid is the hookmaster) and are happy to take turns in the spotlight.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275964707″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/275964707″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Acknowledging that some might find collaborative rap “cheesy,” the trio also don’t mind that their configuration helps them stick out in the current landscape of Bay Area rap, where solo artists are a dime a dozen: “Everyone wants the shine for themselves,” says David.\u003c/p>\n\u003cp>“[But] there’s nothing quite like the energy that you get when you’re collaborating on a common idea,” he says. “And performing with more than one person on stage is just so much more of a rush, a thrill, and I think a more exciting experience for the viewer.”\u003c/p>\n\u003cp>Live shows aside, the listening experience with \u003cem>Fair Share\u003c/em> — its title another nod to the ease with which the three share the spotlight — calls to mind early Hieroglyphics records, with a combination of laid-back samples, pride in Oakland, and a community-oriented social consciousness just barely under the lyrics’ surface.\u003c/p>\n\u003cp>Down 2 Earth are wary of the pitfalls of getting pigeonholed as “conscious” rap, and this record is shorter on the positive platitudes than their 2015 debut \u003cem>Wildfire\u003c/em>. But they’re Bay Area natives after all: Azure’s from Pinole, Dayvid’s from Oakland, and Clyde from Berkeley. They have no shortage of political opinions.\u003c/p>\n\u003cp>“I wanted to be an activist originally,” says Clyde, who works as a counselor at a substance abuse nonprofit. “But being a musician allows you to be both, right?”\u003c/p>\n\u003cp>Growing up, he says, he doesn’t recall a time when not being socially aware was an option — he remembers watching the news on TV in the mornings before school as opposed to cartoons — and even he is sometimes taken by surprise at how that comes out in his writing: “I’ll be like, alright, I’m just gas. I’ll just rap. And then it ends up being like ‘Save the animals, love the planet…'” He laughs. “Every time.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308927757″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/308927757″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gentrification — “the g-word” as Dayvid says — weighs heavily on the trio as well, though they’re hesitant to contribute to that being the only story ever written about Bay Area artists.\u003c/p>\n\u003cp>“I worry about San Francisco’s future a lot,” says Azure. “I grew up wanting to live there, maybe even have a family there. But it’s crazy, especially as a DJ, to see the way the crowds have transformed. It’s not just a [race thing], it’s not ‘Look at these white people’ — it’s the type of people. It’s what do you for a living, where you’re from.”\u003c/p>\n\u003cp>Playing a show to Bay Area natives, he says, feels like a rarity; meanwhile, artists he’s looked up to are getting pushed out, heading for Sacramento or farther, LA or New York. It makes D2E’s budding acclaim and professionalism — they’re spending the hours after this interview moving equipment into a new studio space at Jingletown in East Oakland — feel that much more like they’ve stumbled on a secret recipe, a precarious but unmistakable bright spot on an increasingly hard-to-find map to music industry success.\u003c/p>\n\u003cp>Wherever they wind up, they’ll be repping where they’re from — though, despite track titles like “Divisadero,” D2E say they’d rather represent the Bay through their sound than overt lyrics. There’s a groove, a sonic undercurrent, they say, and if you know it, you know they couldn’t have grown up anywhere else.\u003c/p>\n\u003cp>“The groove is always the first stop, more so than the topic,” says Azure. “It needs to \u003cem>feel\u003c/em> a certain way. That, to me, is synonymous with the Bay.”\u003c/p>\n\u003cp>And if you can’t pick up on that? It’s possible you haven’t been in the Bay Area long enough. Or, hey: check the charts. Maybe Mercury is in retrograde.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Down 2 Earth perform Wednesday, April 19 at Slim’s with Murs. \u003ca href=\"http://www.slimspresents.com/event/murs-slims/\" target=\"_blank\" rel=\"noopener\">Tickets ($21) and more info here\u003c/a>. They’ll also appear Thursday, April 27 at The New Parish with Locksmith and J. Lately. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7257795&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">Tickets ($10) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2017 Lineup: Metallica, Lorde, Gorillaz, The Who, A Tribe Called Quest",
"headTitle": "Outside Lands 2017 Lineup: Metallica, Lorde, Gorillaz, The Who, A Tribe Called Quest | KQED",
"content": "\u003cp>After weeks of speculation (and about \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/still-no-lineup-but-outside-lands-2017-tickets-go-on-sale-this-thursday/\">a week of people buying rather pricey tickets regardless of who was playing\u003c/a>), the lineup for this year’s \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Outside Lands Music Festival\u003c/a>, taking place Aug. 11 – 13 in Golden Gate Park, arrived this morning.\u003c/p>\n\u003cp>Headliners include Metallica, Lorde, the newly reunited Gorillaz, A Tribe Called Quest and The Who (in that requisite legacy act spot). Note that usually there are just three names in this top line, one for each night of the festival — whom, we wonder, will be sharing the spotlight on a given evening? Big names farther down the poster include Solange, Queens of the Stone Age, Fleet Foxes, Little Dragon, Tove Lo… the list goes on. On the local tip (aside from, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" target=\"_blank\" rel=\"noopener\">er, Metallica\u003c/a>) it’s nice to see the Bay Area’s women represented with K. Flay, Kamaiyah, and The Shes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13002335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg\" alt=\"17760995_10154188424771148_4353349440459346477_o\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg 1203w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>With food, booze and comedy lineups still to come, three-day tickets ($375 or $795, depending on whether or not you’re Very Important) go on sale this \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Thursday, April 6 at 10am right here\u003c/a>.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Solange, Queens of the Stone Age and a slew of others will play the festival's 10th anniversary this Aug. 11 - 13 in Golden Gate Park. ",
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"title": "Outside Lands 2017 Lineup: Metallica, Lorde, Gorillaz, The Who, A Tribe Called Quest | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After weeks of speculation (and about \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/still-no-lineup-but-outside-lands-2017-tickets-go-on-sale-this-thursday/\">a week of people buying rather pricey tickets regardless of who was playing\u003c/a>), the lineup for this year’s \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Outside Lands Music Festival\u003c/a>, taking place Aug. 11 – 13 in Golden Gate Park, arrived this morning.\u003c/p>\n\u003cp>Headliners include Metallica, Lorde, the newly reunited Gorillaz, A Tribe Called Quest and The Who (in that requisite legacy act spot). Note that usually there are just three names in this top line, one for each night of the festival — whom, we wonder, will be sharing the spotlight on a given evening? Big names farther down the poster include Solange, Queens of the Stone Age, Fleet Foxes, Little Dragon, Tove Lo… the list goes on. On the local tip (aside from, \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" target=\"_blank\" rel=\"noopener\">er, Metallica\u003c/a>) it’s nice to see the Bay Area’s women represented with K. Flay, Kamaiyah, and The Shes.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13002335\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg\" alt=\"17760995_10154188424771148_4353349440459346477_o\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/17760995_10154188424771148_4353349440459346477_o.jpg 1203w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>With food, booze and comedy lineups still to come, three-day tickets ($375 or $795, depending on whether or not you’re Very Important) go on sale this \u003ca href=\"https://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Thursday, April 6 at 10am right here\u003c/a>.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands 2017 will take place Aug. 11 – 13 in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>. Read KQED Arts’ coverage of \u003ca href=\"https://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">the 2016 festival here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD",
"headTitle": "Public Safety or Racial Profiling? Mistah F.A.B. Alleges Harassment by the OPD | KQED",
"content": "\u003cp>When Mistah F.A.B. opened a storefront for his clothing line, \u003ca href=\"https://www.facebook.com/pages/Dope-Era-Clothing-Store/636396006536099\" target=\"_blank\" rel=\"noopener\">Dope Era\u003c/a>, on the 4500 block of Market Street in North Oakland nearly a year ago, he was realizing a lifelong dream.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2010/09/22/mistah_fab_gets_real/\" target=\"_blank\" rel=\"noopener\">rapper and activist, whose real name is Stanley Cox\u003c/a>, grew up in the neighborhood; he’s made giving back to the community his mission since he first rose to fame during the Hyphy movement of the early aughts. For the past 10 years, he’s hosted backpack giveaways for kids, handed out turkeys at Thanksgiving, and organized \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\" rel=\"noopener\">Easter egg hunts\u003c/a> and anti-gun violence basketball tournaments, among other grassroots endeavors. His philanthropy even earned him \u003ca href=\"http://allhiphop.com/2014/02/12/oakland-mayor-dedicates-day-to-mistah-f-a-b/\" target=\"_blank\" rel=\"noopener\">an honorary distinction from the former mayor of Oakland\u003c/a>, Jean Quan, in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12997262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg\" alt=\"F.A.B. at his store during a Respect My Vote event in 2016.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">F.A.B. at his store during a Respect My Vote event in 2016. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Dope Era — which stands for During Oppression People Evolve, Everyone Rises Above — he envisioned a small business that would provide job opportunities to North Oakland residents and set an example for responsible community development. But since Mistah F.A.B. has been in business, he alleges there’s been an unwarranted and disproportionate police presence at his store — something he sees as an example of racial profiling in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>In a recent interview at the store, F.A.B. told KQED Arts he’s noticed police officers parking on both sides of his business, sometimes several times a week, and asking his customers suspicious questions.\u003c/p>\n\u003cp>“There have been several people who have been pulled over leaving my shop, and the first question is, ‘Did you buy some drugs?’” he said, adding that this kind of attention makes his largely black customer base uncomfortable given the historically turbulent relationship between the community and law enforcement. “I wanna know what the difference would be if there was a hundred white kids standing on the corner. Would it be patronizing [the store], or would it be loitering?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kiongozi Binaumo, a neighbor from Market Street, corroborated F.A.B.’s claims. “I’ve never seen anything foul happen around there,” he said. “I sit and watch the police all the time park around the corner and just watch, wanting something bad to happen, wanting to intervene. They harass people coming in and out of the store.”\u003c/p>\n\u003cfigure id=\"attachment_12997263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg\" alt=\"Inside Dope Era\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked for a response to the allegations, the Oakland Police Department sent an email. “We are looking further into the statements made by Mr. Cox,” wrote Officer Marco Marquez, an OPD media relations representative. “One of our goals in our strategic plan as a police department is to strengthen community trust and relationships. Part of what that looks like is considering potential damage to public trust when implementing crime fighting strategies.”\u003c/p>\n\u003cp>Mistah F.A.B. says that his status as a local celebrity has made Dope Era a bustling, attractive destination in the otherwise quiet neighborhood. Many of his customers are young black men, which he says has prompted unwarranted suspicion.\u003c/p>\n\u003cp>“I represent, and I walk with this neighborhood on my back everywhere I go,” he said. “So to see the barbershop [next door], a black business, and to see this shop — that’s inspiration to these kids. We represent hope in a desolate place where they don’t see a lot of positive images of young, black males.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZIPRVFCmi-k\u003c/p>\n\u003cp>Mistah F.A.B. did admit that there has long been police presence in the neighborhood because of its history of crime. In 2017, according to \u003ca href=\"https://www.crimemapping.com/\" target=\"_blank\" rel=\"noopener\">CrimeMapping.com \u003c/a>— a database the Oakland Police Department uses to make crime data available to the public — there have been nine cases of assault, six cases of burglary, and eight cases of motor vehicle theft within a quarter-mile radius of Dope Era stretching from 40th Street to the south and 54th Street to the north. For comparison, within a quarter-mile radius of the 4300 block of Piedmont Avenue, the center of the nearby, upscale Piedmont Avenue shopping district, the site reports three cases of assault, three cases of burglary, and seven cases of motor vehicle theft this year.\u003c/p>\n\u003cp>Still, F.A.B. is adamant that his store is being unfairly targeted. He should not be criminalized for opening a business in the neighborhood where he grew up, he says, even if it is a high-crime area.\u003c/p>\n\u003cp>“If you have someone that you’re looking for, go get them! Grab them! But don’t come out here and sit on our business,” he said. “In almost two years, there’s been no crime here. There’s not been a gun shot; there hasn’t been anything in comparison to what used to go on on this block on the normal. We’re policing the community. We’re governing the community. We’re helping and aiding others to do something for themselves. So how are we a nuisance?”\u003c/p>\n\u003cp>F.A.B. made sure to note that he was not calling out the OPD as a whole. “The problem is not really with the police, it’s certain police officers — individuals,” he said. “I don’t want to group the police officers like it’s them versus us. No. There’s certain officers who actually support us, who come out and say hello and actually mediate a few things for us.”\u003c/p>\n\u003cfigure id=\"attachment_12997264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg\" alt=\"Inside Dope Era.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darion Berry, a Berkeley resident who grew up in Oakland on 42nd Street and knows Mistah F.A.B., said that police surveillance at the shop is symptomatic of a larger cultural clash between longtime North Oakland residents — many of whom are black, Latino, and Middle Eastern — and white newcomers who have been flocking to the area in recent years. He suspects that some of these new residents may be the ones calling the police.\u003c/p>\n\u003cp>“I know firsthand that it’s definitely the neighbors who aren’t familiar with our culture or our way of living,” said Berry, who is black. “This is a community where friends will come throughout the day and hang out and whatnot. It may look different or make some people uncomfortable, but instead of taking the route of calling the police, engage us and really access what people are doing.”\u003c/p>\n\u003cp>“They’re allowing their biased opinions to give false data to other members of the community,” said Mistah F.A.B., who has previously been \u003ca href=\"https://ww2.kqed.org/pop/2016/07/07/bay-area-rap-veteran-mistah-f-a-b-responds-to-police-shootings-with-6-shots/\" target=\"_blank\" rel=\"noopener\">outspoken in the wake of police shootings\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WUU8BbIb30k\u003c/p>\n\u003cp>In an attempt to find neighbors who might have issued complaints about the store, this reporter posted about Mistah F.A.B.’s allegations of racial profiling on Nextdoor.com, a social network that connects neighbors. Will Chase, a white resident of 42nd Street, weighed in, cautioning that police presence is to be expected in areas with a history of crime.\u003c/p>\n\u003cp>“Racial profiling is a horrible practice,” he wrote. “That said, if there’s a location with a history and pattern of regular violence, as this corner (not their specific store, as far as I know) has, it absolutely makes sense for there to be a police presence there to deter further violence. That’s simply good neighborhood policing.”\u003c/p>\n\u003cp>For others, the allegations of racial profiling at the Dope Era store call to mind other recent incidents that have become emblematic of racism and gentrification in Oakland. For instance, in September 2015, a white resident called the police on a group of black and Latino drummers at Lake Merritt, resulting in what many described as an \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">unnecessary clash between law enforcement and a group of people of color involved in a harmless activity\u003c/a>. Similarly, black churches in West Oakland and \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/noise-complaint-sparks-demonstration-of-street-music-oakland-culture/\" target=\"_blank\" rel=\"noopener\">a teenage drummer at the Lake Merritt farmers’ market\u003c/a> have faced noise complaints that have resulted in altercations with neighbors and police.\u003c/p>\n\u003cp>As far as solutions go, Mistah F.A.B. calls for greater community engagement across racial lines. “Pull up in here. Come get a chance to socialize with us and meet with us,” he said. “But if you’re intimidated by us, you won’t be able to do that. If you’re afraid of young, black men standing outside, having a good time, laughing and joking, talking about the memories of yesterday and the hopes of tomorrow — if that intimidates you, this might not be the place for you.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "The rapper and activist, who runs the North Oakland shop Dope Era, says unwarranted police presence is a sign of gentrification in the neighborhood.",
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"description": "The rapper and activist, who runs the North Oakland shop Dope Era, says unwarranted police presence is a sign of gentrification in the neighborhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mistah F.A.B. opened a storefront for his clothing line, \u003ca href=\"https://www.facebook.com/pages/Dope-Era-Clothing-Store/636396006536099\" target=\"_blank\" rel=\"noopener\">Dope Era\u003c/a>, on the 4500 block of Market Street in North Oakland nearly a year ago, he was realizing a lifelong dream.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/arts/2010/09/22/mistah_fab_gets_real/\" target=\"_blank\" rel=\"noopener\">rapper and activist, whose real name is Stanley Cox\u003c/a>, grew up in the neighborhood; he’s made giving back to the community his mission since he first rose to fame during the Hyphy movement of the early aughts. For the past 10 years, he’s hosted backpack giveaways for kids, handed out turkeys at Thanksgiving, and organized \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\" rel=\"noopener\">Easter egg hunts\u003c/a> and anti-gun violence basketball tournaments, among other grassroots endeavors. His philanthropy even earned him \u003ca href=\"http://allhiphop.com/2014/02/12/oakland-mayor-dedicates-day-to-mistah-f-a-b/\" target=\"_blank\" rel=\"noopener\">an honorary distinction from the former mayor of Oakland\u003c/a>, Jean Quan, in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12997262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg\" alt=\"F.A.B. at his store during a Respect My Vote event in 2016.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_2129.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">F.A.B. at his store during a Respect My Vote event in 2016. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Dope Era — which stands for During Oppression People Evolve, Everyone Rises Above — he envisioned a small business that would provide job opportunities to North Oakland residents and set an example for responsible community development. But since Mistah F.A.B. has been in business, he alleges there’s been an unwarranted and disproportionate police presence at his store — something he sees as an example of racial profiling in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>In a recent interview at the store, F.A.B. told KQED Arts he’s noticed police officers parking on both sides of his business, sometimes several times a week, and asking his customers suspicious questions.\u003c/p>\n\u003cp>“There have been several people who have been pulled over leaving my shop, and the first question is, ‘Did you buy some drugs?’” he said, adding that this kind of attention makes his largely black customer base uncomfortable given the historically turbulent relationship between the community and law enforcement. “I wanna know what the difference would be if there was a hundred white kids standing on the corner. Would it be patronizing [the store], or would it be loitering?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kiongozi Binaumo, a neighbor from Market Street, corroborated F.A.B.’s claims. “I’ve never seen anything foul happen around there,” he said. “I sit and watch the police all the time park around the corner and just watch, wanting something bad to happen, wanting to intervene. They harass people coming in and out of the store.”\u003c/p>\n\u003cfigure id=\"attachment_12997263\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997263\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg\" alt=\"Inside Dope Era\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-45.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked for a response to the allegations, the Oakland Police Department sent an email. “We are looking further into the statements made by Mr. Cox,” wrote Officer Marco Marquez, an OPD media relations representative. “One of our goals in our strategic plan as a police department is to strengthen community trust and relationships. Part of what that looks like is considering potential damage to public trust when implementing crime fighting strategies.”\u003c/p>\n\u003cp>Mistah F.A.B. says that his status as a local celebrity has made Dope Era a bustling, attractive destination in the otherwise quiet neighborhood. Many of his customers are young black men, which he says has prompted unwarranted suspicion.\u003c/p>\n\u003cp>“I represent, and I walk with this neighborhood on my back everywhere I go,” he said. “So to see the barbershop [next door], a black business, and to see this shop — that’s inspiration to these kids. We represent hope in a desolate place where they don’t see a lot of positive images of young, black males.”\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/ZIPRVFCmi-k'\n title='//www.youtube.com/embed/ZIPRVFCmi-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mistah F.A.B. did admit that there has long been police presence in the neighborhood because of its history of crime. In 2017, according to \u003ca href=\"https://www.crimemapping.com/\" target=\"_blank\" rel=\"noopener\">CrimeMapping.com \u003c/a>— a database the Oakland Police Department uses to make crime data available to the public — there have been nine cases of assault, six cases of burglary, and eight cases of motor vehicle theft within a quarter-mile radius of Dope Era stretching from 40th Street to the south and 54th Street to the north. For comparison, within a quarter-mile radius of the 4300 block of Piedmont Avenue, the center of the nearby, upscale Piedmont Avenue shopping district, the site reports three cases of assault, three cases of burglary, and seven cases of motor vehicle theft this year.\u003c/p>\n\u003cp>Still, F.A.B. is adamant that his store is being unfairly targeted. He should not be criminalized for opening a business in the neighborhood where he grew up, he says, even if it is a high-crime area.\u003c/p>\n\u003cp>“If you have someone that you’re looking for, go get them! Grab them! But don’t come out here and sit on our business,” he said. “In almost two years, there’s been no crime here. There’s not been a gun shot; there hasn’t been anything in comparison to what used to go on on this block on the normal. We’re policing the community. We’re governing the community. We’re helping and aiding others to do something for themselves. So how are we a nuisance?”\u003c/p>\n\u003cp>F.A.B. made sure to note that he was not calling out the OPD as a whole. “The problem is not really with the police, it’s certain police officers — individuals,” he said. “I don’t want to group the police officers like it’s them versus us. No. There’s certain officers who actually support us, who come out and say hello and actually mediate a few things for us.”\u003c/p>\n\u003cfigure id=\"attachment_12997264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997264\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg\" alt=\"Inside Dope Era.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-46.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Dope Era. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darion Berry, a Berkeley resident who grew up in Oakland on 42nd Street and knows Mistah F.A.B., said that police surveillance at the shop is symptomatic of a larger cultural clash between longtime North Oakland residents — many of whom are black, Latino, and Middle Eastern — and white newcomers who have been flocking to the area in recent years. He suspects that some of these new residents may be the ones calling the police.\u003c/p>\n\u003cp>“I know firsthand that it’s definitely the neighbors who aren’t familiar with our culture or our way of living,” said Berry, who is black. “This is a community where friends will come throughout the day and hang out and whatnot. It may look different or make some people uncomfortable, but instead of taking the route of calling the police, engage us and really access what people are doing.”\u003c/p>\n\u003cp>“They’re allowing their biased opinions to give false data to other members of the community,” said Mistah F.A.B., who has previously been \u003ca href=\"https://ww2.kqed.org/pop/2016/07/07/bay-area-rap-veteran-mistah-f-a-b-responds-to-police-shootings-with-6-shots/\" target=\"_blank\" rel=\"noopener\">outspoken in the wake of police shootings\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/WUU8BbIb30k'\n title='//www.youtube.com/embed/WUU8BbIb30k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an attempt to find neighbors who might have issued complaints about the store, this reporter posted about Mistah F.A.B.’s allegations of racial profiling on Nextdoor.com, a social network that connects neighbors. Will Chase, a white resident of 42nd Street, weighed in, cautioning that police presence is to be expected in areas with a history of crime.\u003c/p>\n\u003cp>“Racial profiling is a horrible practice,” he wrote. “That said, if there’s a location with a history and pattern of regular violence, as this corner (not their specific store, as far as I know) has, it absolutely makes sense for there to be a police presence there to deter further violence. That’s simply good neighborhood policing.”\u003c/p>\n\u003cp>For others, the allegations of racial profiling at the Dope Era store call to mind other recent incidents that have become emblematic of racism and gentrification in Oakland. For instance, in September 2015, a white resident called the police on a group of black and Latino drummers at Lake Merritt, resulting in what many described as an \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">unnecessary clash between law enforcement and a group of people of color involved in a harmless activity\u003c/a>. Similarly, black churches in West Oakland and \u003ca href=\"https://ww2.kqed.org/arts/2016/09/06/noise-complaint-sparks-demonstration-of-street-music-oakland-culture/\" target=\"_blank\" rel=\"noopener\">a teenage drummer at the Lake Merritt farmers’ market\u003c/a> have faced noise complaints that have resulted in altercations with neighbors and police.\u003c/p>\n\u003cp>As far as solutions go, Mistah F.A.B. calls for greater community engagement across racial lines. “Pull up in here. Come get a chance to socialize with us and meet with us,” he said. “But if you’re intimidated by us, you won’t be able to do that. If you’re afraid of young, black men standing outside, having a good time, laughing and joking, talking about the memories of yesterday and the hopes of tomorrow — if that intimidates you, this might not be the place for you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On Kev Choice's 'Morning Star,' Palestine Isn't So Far From Home",
"headTitle": "On Kev Choice’s ‘Morning Star,’ Palestine Isn’t So Far From Home | KQED",
"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>In December of 2016, still reeling from the shock of the presidential election, a group of Bay Area musicians boarded a plane for the Middle East. \u003ca href=\"http://aishafukushima.com/\" target=\"_blank\" rel=\"noopener\">Aisha Fukushima\u003c/a>, a singer, rapper and activist, has made a habit of such trips through a program with the U.S. Consulate that connects American artists with youth in Jerusalem and the West Bank.\u003c/p>\n\u003cp>For Kev Choice, an Oakland rapper, pianist, and member of Fukushima’s band, it was an eye-opening journey in more ways than one. Following a week and a half of workshops with Palestinian youth during the day and performances with Palestinian musicians at night, Choice returned to his hotel room in East Jerusalem on the last night of the 10-day trip and picked up a pen. The result was “Morning Star,” a song that features Choice rapping and singing over a sample of music by \u003ca href=\"https://www.youtube.com/watch?v=UcT7bibdwvM\" target=\"_blank\" rel=\"noopener\">Sana Moussa-Star of The Morning\u003c/a>, a Palestinian artist the rapper discovered while there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Oh9RS4PjDU0&feature=youtu.be\u003c/p>\n\u003cp>“I wanted to write a song that captured my immense spiritual connection there, and also captured my experience with the Palestinian people, especially the children,” says Choice, a versatile, classically trained solo artist who performs with everyone from The Coup to Too $hort; for a time, he served as Lauryn Hill’s bandleader.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was so inspiring to see the children perform for us, listen to us, and connect with us. They were so talented and had so much to say, and it was just so powerful,” says Choice. “The chorus of this song is me telling them to keep shining for the world.”\u003c/p>\n\u003cp>Choice was especially moved, he says, by the warm, enthusiastic welcome he and his fellow musicians received from the residents of refugee camps in the West Bank.\u003c/p>\n\u003cp>“I had no idea of the depth and spirit of the Palestinian people,” he says. “It was totally opposite of what I expected and what we are shown in the media.”\u003c/p>\n\u003cp>As a spiritual person, hearing the Muslim call to prayer and visiting the birthplace of Jesus were both powerful experiences, says Choice. But the modern-day realities of life in Palestine made just as strong an impression: The band performed in Jerusalem, Bethelehem, Ramallah, and Neblus, locations that required the group to drive past the West Bank barrier wall daily. That separation, along with the heavy presence of Israeli military police, called to mind some parallels for Choice between refugee camps and American ghettos. Toward the end of the track, he raps:\u003c/p>\n\u003cp>\u003cem>In similar situations, divided nations\u003c/em>\u003cbr>\n\u003cem> the occupation, police militarization\u003c/em>\u003cbr>\n\u003cem> settlements, gentrification\u003c/em>\u003cbr>\n\u003cem> Refugee camps, just like my ghetto\u003c/em>\u003cbr>\n\u003cem> it’s time to wake the people up,\u003c/em>\u003cbr>\n\u003cem> third day flow, like he rose\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12978783\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12978783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg\" alt=\"Choice in the Old City of Jerusalem. \" width=\"750\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-520x578.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Choice in the Old City of Jerusalem.\u003c/figcaption>\u003c/figure>\n\u003cp>“The Palestinian people told stories to me, very similar to the stories we hear in the U.S., about police brutality, police getting away with murder, harassment on a daily basis, especially of the youth,” says Choice.\u003c/p>\n\u003cp>Palestinians clearly live in a “divided nation, similar to how our nation is divided now politically and along lines of race and class,” he adds. “We think of refugee camps as an area where refugees live temporarily in tents, but I found out their refugee camps are actually full-blown neighborhoods and cities, where refugees have been displaced for decades. It’s like the hood, the ghetto, with lack of funds, resources, lots of poverty. People who were forced out of their homes years ago have settled there, but still hold hope to return to their original land.”\u003c/p>\n\u003cp>Returning home, says Choice, his thoughts have turned to how to use his voice effectively as an artist under this administration — as opposed to just “reflecting anger or resentment without bringing forth any constructive action.”\u003c/p>\n\u003cp>“I can say ‘F*ck Donald Trump,’ and that’s cool, but how are we going to mobilize to fight his agenda? How are we going to strategize and prepare for the next election, and how can we organize in our communities to keep things together no matter what he’s doing the next four years?” asks Choice.\u003c/p>\n\u003cp>“I’m still going to speak my truth, speak against injustices where I see fit. I’m still going to use my music as service to my community to inspire and uplift in times of need. I’m still an artist, father, educator, and all those things. I just have to be more persistent and resilient as ever.”\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>Kev Choice’s next shows are April 28 at \u003ca href=\"https://www.gracecathedral.org/events/music-of-the-spheres/\" target=\"_blank\" rel=\"noopener\">Music of the Spheres\u003c/a>, an anti-child trafficking event at Grace Cathedral in San Francisco, and June 30 at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s in Oakland\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>In December of 2016, still reeling from the shock of the presidential election, a group of Bay Area musicians boarded a plane for the Middle East. \u003ca href=\"http://aishafukushima.com/\" target=\"_blank\" rel=\"noopener\">Aisha Fukushima\u003c/a>, a singer, rapper and activist, has made a habit of such trips through a program with the U.S. Consulate that connects American artists with youth in Jerusalem and the West Bank.\u003c/p>\n\u003cp>For Kev Choice, an Oakland rapper, pianist, and member of Fukushima’s band, it was an eye-opening journey in more ways than one. Following a week and a half of workshops with Palestinian youth during the day and performances with Palestinian musicians at night, Choice returned to his hotel room in East Jerusalem on the last night of the 10-day trip and picked up a pen. The result was “Morning Star,” a song that features Choice rapping and singing over a sample of music by \u003ca href=\"https://www.youtube.com/watch?v=UcT7bibdwvM\" target=\"_blank\" rel=\"noopener\">Sana Moussa-Star of The Morning\u003c/a>, a Palestinian artist the rapper discovered while there.\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/Oh9RS4PjDU0'\n title='//www.youtube.com/embed/Oh9RS4PjDU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I wanted to write a song that captured my immense spiritual connection there, and also captured my experience with the Palestinian people, especially the children,” says Choice, a versatile, classically trained solo artist who performs with everyone from The Coup to Too $hort; for a time, he served as Lauryn Hill’s bandleader.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was so inspiring to see the children perform for us, listen to us, and connect with us. They were so talented and had so much to say, and it was just so powerful,” says Choice. “The chorus of this song is me telling them to keep shining for the world.”\u003c/p>\n\u003cp>Choice was especially moved, he says, by the warm, enthusiastic welcome he and his fellow musicians received from the residents of refugee camps in the West Bank.\u003c/p>\n\u003cp>“I had no idea of the depth and spirit of the Palestinian people,” he says. “It was totally opposite of what I expected and what we are shown in the media.”\u003c/p>\n\u003cp>As a spiritual person, hearing the Muslim call to prayer and visiting the birthplace of Jesus were both powerful experiences, says Choice. But the modern-day realities of life in Palestine made just as strong an impression: The band performed in Jerusalem, Bethelehem, Ramallah, and Neblus, locations that required the group to drive past the West Bank barrier wall daily. That separation, along with the heavy presence of Israeli military police, called to mind some parallels for Choice between refugee camps and American ghettos. Toward the end of the track, he raps:\u003c/p>\n\u003cp>\u003cem>In similar situations, divided nations\u003c/em>\u003cbr>\n\u003cem> the occupation, police militarization\u003c/em>\u003cbr>\n\u003cem> settlements, gentrification\u003c/em>\u003cbr>\n\u003cem> Refugee camps, just like my ghetto\u003c/em>\u003cbr>\n\u003cem> it’s time to wake the people up,\u003c/em>\u003cbr>\n\u003cem> third day flow, like he rose\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12978783\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12978783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg\" alt=\"Choice in the Old City of Jerusalem. \" width=\"750\" height=\"834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/FullSizeRender-10-1-520x578.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Choice in the Old City of Jerusalem.\u003c/figcaption>\u003c/figure>\n\u003cp>“The Palestinian people told stories to me, very similar to the stories we hear in the U.S., about police brutality, police getting away with murder, harassment on a daily basis, especially of the youth,” says Choice.\u003c/p>\n\u003cp>Palestinians clearly live in a “divided nation, similar to how our nation is divided now politically and along lines of race and class,” he adds. “We think of refugee camps as an area where refugees live temporarily in tents, but I found out their refugee camps are actually full-blown neighborhoods and cities, where refugees have been displaced for decades. It’s like the hood, the ghetto, with lack of funds, resources, lots of poverty. People who were forced out of their homes years ago have settled there, but still hold hope to return to their original land.”\u003c/p>\n\u003cp>Returning home, says Choice, his thoughts have turned to how to use his voice effectively as an artist under this administration — as opposed to just “reflecting anger or resentment without bringing forth any constructive action.”\u003c/p>\n\u003cp>“I can say ‘F*ck Donald Trump,’ and that’s cool, but how are we going to mobilize to fight his agenda? How are we going to strategize and prepare for the next election, and how can we organize in our communities to keep things together no matter what he’s doing the next four years?” asks Choice.\u003c/p>\n\u003cp>“I’m still going to speak my truth, speak against injustices where I see fit. I’m still going to use my music as service to my community to inspire and uplift in times of need. I’m still an artist, father, educator, and all those things. I just have to be more persistent and resilient as ever.”\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>Kev Choice’s next shows are April 28 at \u003ca href=\"https://www.gracecathedral.org/events/music-of-the-spheres/\" target=\"_blank\" rel=\"noopener\">Music of the Spheres\u003c/a>, an anti-child trafficking event at Grace Cathedral in San Francisco, and June 30 at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s in Oakland\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Decades After Its Release, Elliott Smith's 'Either/Or' is Still Both",
"headTitle": "Two Decades After Its Release, Elliott Smith’s ‘Either/Or’ is Still Both | KQED",
"content": "\u003cp>\u003cem>Ed. note: The author formerly worked at the label Kill Rock Stars. \u003c/em>\u003c/p>\n\u003cp>Before Elliott Smith performed before national audiences, or signed to a major label, or cracked the Billboard 200, he was just one of seven musicians in a van touring California. Slim Moon, the founder of the seminal independent label Kill Rock Stars, was also in that van, and it was on that 1994 tour the two Northwest artists became friends.\u003c/p>\n\u003cp>“It was just really super fun,” says Moon, who has since left the label — and the music scene, for the most part; he rarely does interviews. But with KRS having just released \u003ca href=\"http://www.npr.org/sections/allsongs/2017/03/10/519441265/-1-remembering-elliott-smiths-masterpiece-either-or-20-years-later\" target=\"_blank\" rel=\"noopener\">a box set with a new live performance and a remastered release of Smith’s \u003c/a>\u003cem>Either/Or, \u003c/em>perhaps his most\u003cem> \u003c/em>beloved record, Moon took a moment to reminisce.\u003c/p>\n\u003cp>“Something that people don’t know about Elliott is he was loose all the time, always just cracking jokes. It’s the type of experience where you get to become really good friends with someone really quickly.”\u003c/p>\n\u003cp>Elliott Smith was well known in the Pacific Northwest at the time as an “artist’s artist,” Moon says. Smith had played for several years in the band Heatmiser, a band that featured Sam Coomes, Tony Lash, and Neil Gust, one of the few openly gay front men in the hardcore scene. With a mix of power chords, heavy drums, and lyrics about gay life, Heatmiser was labeled “queer-core,” and soon built up a strong LGBTQ following in Portland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kgNMZbOiCe4\u003c/p>\n\u003cp>Yet, while Gust’s voice seemed to find a natural place in Heatmiser’s heavy music, Smith’s singing often sounded strained in the crunch of the band’s guitars. So even after Heatmiser signed to the major label Virgin, Smith was looking for a home to release his solo work — marked by introspective lyrics, catchy acoustic guitar riffs, and a lo-fi aesthetic.\u003c/p>\n\u003cp>It was this side of Smith’s music that Slim Moon became a fan of during that van tour through California.\u003c/p>\n\u003cp>“We were playing at this place called Jabber Jaw in Los Angeles, which was a small all-ages punk rock club, and the sound went out, and there was no light,” Moon recalls. “And so they went out back to the backyard, which is this tiny little courtyard. Like 50 or 75 kids poured out into this courtyard. And Elliott just sat on a chair, and played an acoustic guitar completely unplugged with no amplification, and he was so gripping that all of those kids stayed dead silent for an hour listening to every song.”\u003c/p>\n\u003cfigure id=\"attachment_12973493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12973493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-800x671.png\" alt=\"Either/Or\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-800x671.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-768x644.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-240x201.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-375x315.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-520x436.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary.png 807w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Either/Or\u003c/figcaption>\u003c/figure>\n\u003cp>“This was well before he was famous,” Moon notes. “Most of the kids had come to see the other bands playing that day.”\u003c/p>\n\u003cp>Meanwhile, Moon — who was running Kill Rock Stars at the time — thought Smith’s solo songs should find their way to an album.\u003c/p>\n\u003cp>“I thought my record label was too small at the time, but the other labels weren’t interested because they thought he sounded like Simon and Garfunkel,” Moon says. “By that time, we had become pretty good friends. And he said ‘Hey man, why don’t you put out my record?’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PWOYmZs43MM\u003c/p>\n\u003cp>Ultimately, Kill Rock Stars would, releasing Smith’s second solo record, \u003cem>Elliott Smith\u003c/em> in 1995. The album featured the sleeper hit “Needle in The Hay.” Moon — as he did often during the early days running the label — signed Smith on a handshake deal.\u003c/p>\n\u003cp>“We really believed in handshake deals,” Moon says. “We did one record at a time, on handshake. ‘Oh, we still like each other? Let’s make a record on a handshake.’”\u003c/p>\n\u003cp>\u003cem>Elliott Smith\u003c/em> was dark, sprarse and brooding. So when Moon first heard the songs that would make up \u003cem>Either/Or,\u003c/em> he was surprised by the fuller sound.\u003c/p>\n\u003cp>“Even though it’s his most loved record, and it’s the one record of his that’s considered truly a classic and all that, I was a little disappointed, because I’m a big fan of true solo artistry,” Moon says. “I didn’t like the songs with a big bass sound.”\u003c/p>\n\u003cp>The album featured several songs with a driving bass, including “2:45 A.M.” and “Ballad of Big Nothing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iU9yMN1MCfY\u003c/p>\n\u003cp>But it was the five songs featured on the \u003cem>Good Will Hunting \u003c/em>soundtrack — four from \u003cem>Either/Or\u003c/em> — that would catapult Smith’s work into the mainstream.\u003c/p>\n\u003cp>Fellow Portlander Gus Van Sant directed the movie, and told\u003cem> Say Yes\u003c/em> from Louisville Public Media that he heard Smith’s songs through his then-boyfriend.\u003c/p>\n\u003cp>“He was starting to become listened to from select people, super hip people,” Van Sant told \u003cem>\u003ca href=\"https://soundcloud.com/sayyespodcast\" target=\"_blank\" rel=\"noopener\">Say Yes.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The Oscar-winning director says the music came to him in the most Portland of ways.\u003c/p>\n\u003cp>“I knew him through my boyfriend, who worked with his girlfriend Joanna [Bolme],” Van Sant says.\u003c/p>\n\u003cp>That association would change Smith’s life. \u003cem>Either/Or\u003c/em> would be his last album with Kill Rock Stars, and Smith’s friendship with Moon would fall apart. Moon — who was a close friend of Kurt Cobain and is himself a recovering addict — was concerned about Smith’s drinking and erratic behavior. At one point, Moon helped organize an intervention in Chicago for Smith — an intervention the singer-songwriter would later say fueled the anger in his songs on later albums.\u003c/p>\n\u003cp>Those albums, published by major labels to much attention, would feature a glossier, more accessible Smith. Both albums would chart, doing particularly well in the United Kingdom.\u003c/p>\n\u003cp>But Slim Moon says\u003cem> Either/Or\u003c/em> was Smith’s last real collection of “Portland songs.”\u003c/p>\n\u003cp>“You know, he had this early solo life as a solo troubadour, and this later life as a pop genius,” says Moon. “\u003cem>Either/Or\u003c/em> is where he’s both.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\n",
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"excerpt": "In honor of its 20th anniversary, the Kill Rock Stars founder looks back at a record that captured a singer on the precipice of stardom. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: The author formerly worked at the label Kill Rock Stars. \u003c/em>\u003c/p>\n\u003cp>Before Elliott Smith performed before national audiences, or signed to a major label, or cracked the Billboard 200, he was just one of seven musicians in a van touring California. Slim Moon, the founder of the seminal independent label Kill Rock Stars, was also in that van, and it was on that 1994 tour the two Northwest artists became friends.\u003c/p>\n\u003cp>“It was just really super fun,” says Moon, who has since left the label — and the music scene, for the most part; he rarely does interviews. But with KRS having just released \u003ca href=\"http://www.npr.org/sections/allsongs/2017/03/10/519441265/-1-remembering-elliott-smiths-masterpiece-either-or-20-years-later\" target=\"_blank\" rel=\"noopener\">a box set with a new live performance and a remastered release of Smith’s \u003c/a>\u003cem>Either/Or, \u003c/em>perhaps his most\u003cem> \u003c/em>beloved record, Moon took a moment to reminisce.\u003c/p>\n\u003cp>“Something that people don’t know about Elliott is he was loose all the time, always just cracking jokes. It’s the type of experience where you get to become really good friends with someone really quickly.”\u003c/p>\n\u003cp>Elliott Smith was well known in the Pacific Northwest at the time as an “artist’s artist,” Moon says. Smith had played for several years in the band Heatmiser, a band that featured Sam Coomes, Tony Lash, and Neil Gust, one of the few openly gay front men in the hardcore scene. With a mix of power chords, heavy drums, and lyrics about gay life, Heatmiser was labeled “queer-core,” and soon built up a strong LGBTQ following in Portland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kgNMZbOiCe4'\n title='//www.youtube.com/embed/kgNMZbOiCe4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet, while Gust’s voice seemed to find a natural place in Heatmiser’s heavy music, Smith’s singing often sounded strained in the crunch of the band’s guitars. So even after Heatmiser signed to the major label Virgin, Smith was looking for a home to release his solo work — marked by introspective lyrics, catchy acoustic guitar riffs, and a lo-fi aesthetic.\u003c/p>\n\u003cp>It was this side of Smith’s music that Slim Moon became a fan of during that van tour through California.\u003c/p>\n\u003cp>“We were playing at this place called Jabber Jaw in Los Angeles, which was a small all-ages punk rock club, and the sound went out, and there was no light,” Moon recalls. “And so they went out back to the backyard, which is this tiny little courtyard. Like 50 or 75 kids poured out into this courtyard. And Elliott just sat on a chair, and played an acoustic guitar completely unplugged with no amplification, and he was so gripping that all of those kids stayed dead silent for an hour listening to every song.”\u003c/p>\n\u003cfigure id=\"attachment_12973493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12973493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-800x671.png\" alt=\"Either/Or\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-800x671.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-160x134.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-768x644.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-240x201.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-375x315.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary-520x436.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/elliott-smith-either-or-reissue-20th-anniversary.png 807w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Either/Or\u003c/figcaption>\u003c/figure>\n\u003cp>“This was well before he was famous,” Moon notes. “Most of the kids had come to see the other bands playing that day.”\u003c/p>\n\u003cp>Meanwhile, Moon — who was running Kill Rock Stars at the time — thought Smith’s solo songs should find their way to an album.\u003c/p>\n\u003cp>“I thought my record label was too small at the time, but the other labels weren’t interested because they thought he sounded like Simon and Garfunkel,” Moon says. “By that time, we had become pretty good friends. And he said ‘Hey man, why don’t you put out my record?’”\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/PWOYmZs43MM'\n title='//www.youtube.com/embed/PWOYmZs43MM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ultimately, Kill Rock Stars would, releasing Smith’s second solo record, \u003cem>Elliott Smith\u003c/em> in 1995. The album featured the sleeper hit “Needle in The Hay.” Moon — as he did often during the early days running the label — signed Smith on a handshake deal.\u003c/p>\n\u003cp>“We really believed in handshake deals,” Moon says. “We did one record at a time, on handshake. ‘Oh, we still like each other? Let’s make a record on a handshake.’”\u003c/p>\n\u003cp>\u003cem>Elliott Smith\u003c/em> was dark, sprarse and brooding. So when Moon first heard the songs that would make up \u003cem>Either/Or,\u003c/em> he was surprised by the fuller sound.\u003c/p>\n\u003cp>“Even though it’s his most loved record, and it’s the one record of his that’s considered truly a classic and all that, I was a little disappointed, because I’m a big fan of true solo artistry,” Moon says. “I didn’t like the songs with a big bass sound.”\u003c/p>\n\u003cp>The album featured several songs with a driving bass, including “2:45 A.M.” and “Ballad of Big Nothing.”\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/iU9yMN1MCfY'\n title='//www.youtube.com/embed/iU9yMN1MCfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it was the five songs featured on the \u003cem>Good Will Hunting \u003c/em>soundtrack — four from \u003cem>Either/Or\u003c/em> — that would catapult Smith’s work into the mainstream.\u003c/p>\n\u003cp>Fellow Portlander Gus Van Sant directed the movie, and told\u003cem> Say Yes\u003c/em> from Louisville Public Media that he heard Smith’s songs through his then-boyfriend.\u003c/p>\n\u003cp>“He was starting to become listened to from select people, super hip people,” Van Sant told \u003cem>\u003ca href=\"https://soundcloud.com/sayyespodcast\" target=\"_blank\" rel=\"noopener\">Say Yes.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The Oscar-winning director says the music came to him in the most Portland of ways.\u003c/p>\n\u003cp>“I knew him through my boyfriend, who worked with his girlfriend Joanna [Bolme],” Van Sant says.\u003c/p>\n\u003cp>That association would change Smith’s life. \u003cem>Either/Or\u003c/em> would be his last album with Kill Rock Stars, and Smith’s friendship with Moon would fall apart. Moon — who was a close friend of Kurt Cobain and is himself a recovering addict — was concerned about Smith’s drinking and erratic behavior. At one point, Moon helped organize an intervention in Chicago for Smith — an intervention the singer-songwriter would later say fueled the anger in his songs on later albums.\u003c/p>\n\u003cp>Those albums, published by major labels to much attention, would feature a glossier, more accessible Smith. Both albums would chart, doing particularly well in the United Kingdom.\u003c/p>\n\u003cp>But Slim Moon says\u003cem> Either/Or\u003c/em> was Smith’s last real collection of “Portland songs.”\u003c/p>\n\u003cp>“You know, he had this early solo life as a solo troubadour, and this later life as a pop genius,” says Moon. “\u003cem>Either/Or\u003c/em> is where he’s both.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"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\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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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