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"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Las Cafeteras, “If I Was President”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1806630540/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3325793658/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In 2004, halfway through then-President George W. 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Donald Trump’s administration, the lyrics to Las Cafeteras’ new single “If I Was President” — in which the six-person Los Angeles band sings in Spanish and English about reducing incarceration, providing free education, and mandating a living wage — sound at once fresh and all too familiar:\u003c/p>\n\u003cp>\u003cem>Educate myself \u003c/em>\u003cbr>\n\u003cem>On our current situation \u003c/em>\u003cbr>\n\u003cem>When we pay a living wage \u003c/em>\u003cbr>\n\u003cem>We’ll have less incarceration \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>And my first lady \u003c/em>\u003cbr>\n\u003cem>Would be my moms \u003c/em>\u003cbr>\n\u003cem>Cause she’d slap me \u003c/em>\u003cbr>\n\u003cem>At the first thought of drone strikes \u003c/em>\u003cbr>\n\u003cem>And dropping bombs \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d Free my poor black and brown kids \u003c/em>\u003cbr>\n\u003cem>that got caught up in 3 strikes \u003c/em>\u003cbr>\n\u003cem>And when they get out \u003c/em>\u003cbr>\n\u003cem>They gettin’ free bikes\u003c/em>\u003c/p>\n\u003cp>The track, which serves as the first single on Las Cafeteras’ new record \u003cem>Tastes Like L.A.,\u003c/em> was released as a free download on Jan. 20 — Presidents’ Day.\u003c/p>\n\u003cp>“We wanted to engage people’s imaginations about the future of this country,” wrote the band in a statement accompanying the song. “Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.”\u003c/p>\n\u003cp>On the heels of reports that Pres. Trump plans to direct more federal resources toward \u003ca href=\"https://www.nytimes.com/2017/02/21/us/politics/dhs-immigration-trump.html?_r=0\" target=\"_blank\" rel=\"noopener\">aggressively pursuing and deporting undocumented immigrants\u003c/a>, it’s an especially powerful message coming from a group of first-generation Americans. Las Cafeteras blend punk- and hip-hop-influenced songwriting with popular Latin musical styles like cumbia — a fitting concoction for a band made up of \u003ca href=\"http://lascafeteras.com/biography/\" target=\"_blank\" rel=\"noopener\">young people who grew up in diverse East L.A. neighborhoods, raised by parents from Mexico\u003c/a>.\u003c/p>\n\u003cp>The band is touring the U.S. leading up to \u003cem>Tastes Like L.A.\u003c/em>‘s release on April 14. They’ll perform at the Social Hall in San Francisco on April 8, and at the Rio Theatre in Santa Cruz April 15. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And my first lady \u003c/em>\u003cbr>\n\u003cem>Would be my moms \u003c/em>\u003cbr>\n\u003cem>Cause she’d slap me \u003c/em>\u003cbr>\n\u003cem>At the first thought of drone strikes \u003c/em>\u003cbr>\n\u003cem>And dropping bombs \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d Free my poor black and brown kids \u003c/em>\u003cbr>\n\u003cem>that got caught up in 3 strikes \u003c/em>\u003cbr>\n\u003cem>And when they get out \u003c/em>\u003cbr>\n\u003cem>They gettin’ free bikes\u003c/em>\u003c/p>\n\u003cp>The track, which serves as the first single on Las Cafeteras’ new record \u003cem>Tastes Like L.A.,\u003c/em> was released as a free download on Jan. 20 — Presidents’ Day.\u003c/p>\n\u003cp>“We wanted to engage people’s imaginations about the future of this country,” wrote the band in a statement accompanying the song. “Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.”\u003c/p>\n\u003cp>On the heels of reports that Pres. Trump plans to direct more federal resources toward \u003ca href=\"https://www.nytimes.com/2017/02/21/us/politics/dhs-immigration-trump.html?_r=0\" target=\"_blank\" rel=\"noopener\">aggressively pursuing and deporting undocumented immigrants\u003c/a>, it’s an especially powerful message coming from a group of first-generation Americans. Las Cafeteras blend punk- and hip-hop-influenced songwriting with popular Latin musical styles like cumbia — a fitting concoction for a band made up of \u003ca href=\"http://lascafeteras.com/biography/\" target=\"_blank\" rel=\"noopener\">young people who grew up in diverse East L.A. neighborhoods, raised by parents from Mexico\u003c/a>.\u003c/p>\n\u003cp>The band is touring the U.S. leading up to \u003cem>Tastes Like L.A.\u003c/em>‘s release on April 14. They’ll perform at the Social Hall in San Francisco on April 8, and at the Rio Theatre in Santa Cruz April 15. The band also plans to release audio stems for “If I Was President,” allowing remixers to create and share their own versions of the song.\u003c/p>\n\u003cp>“The President says he wants to build a wall,” said band member Denise Carlos. “Las Cafeteras want to build bridges.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"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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"title": "The Struggles of Austin's Music Scene Mirror a Widened World",
"headTitle": "The Struggles of Austin’s Music Scene Mirror a Widened World | KQED",
"content": "\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a category of opera called “CNN Opera,” describing a production about a modern political event or movement. Berkeley composer John Adams and working partner Peter Sellars \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">perfected the form\u003c/a> in operas like \u003cem>The Death of Klinghoffer \u003c/em>and\u003cem> Nixon in China\u003c/em> — both of which comment on recent history.\u003c/p>\n\u003cp>[contextly_sidebar id=”l0SPNemcGZC6IybW81hfPas2w4NIBRSG”]\u003c/p>\n\u003cp>Now, to that list we can add \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Source\u003c/em>\u003c/a>, opening Feb. 24 in San Francisco. The opera, by composer \u003ca href=\"http://www.tedhearne.com/\" target=\"_blank\" rel=\"noopener\">Ted Hearne \u003c/a>and librettist \u003ca href=\"http://www.markdoten.com/\" target=\"_blank\" rel=\"noopener\">Mark Doten\u003c/a>, explores transgender soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html\" target=\"_blank\" rel=\"noopener\">Chelsea Manning’s\u003c/a> decision to disclose hundreds of thousands of classified and sensitive documents about the U.S. war in Iraq to Wikileaks. Hearne (who teaches composition at U.S.C.) and Doten tell their story with an auditory collage built out of news reports, Twitter blasts, emails between Manning and a hacker, and excerpts from the leaked documents — all sung by a group of vocalists using a lot of Autotune.\u003c/p>\n\u003cfigure id=\"attachment_12813003\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12813003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg\" alt=\"Ted Hearne, composer of ‘The Source’\" width=\"450\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-375x261.jpg 375w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Ted Hearne, composer of ‘The Source.’ \u003ccite>(Photo: Nathan Lee Bush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story is all the more compelling after former President Obama’s decision to pardon Manning, and after Wikileaks went from being seen as a hero of the left to its villain by distributing hacked emails from Democratic National Committee officials during the 2016 campaign. This is not your grandmother’s opera, but if she marched recently wearing a pussy hat she crocheted herself, bring her along. \u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘The Source’ runs Feb. 24–March 3 at the Taube Atrium Theater. Details for the show, presented by the San Francisco Opera Lab, are \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a category of opera called “CNN Opera,” describing a production about a modern political event or movement. Berkeley composer John Adams and working partner Peter Sellars \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">perfected the form\u003c/a> in operas like \u003cem>The Death of Klinghoffer \u003c/em>and\u003cem> Nixon in China\u003c/em> — both of which comment on recent history.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Now, to that list we can add \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Source\u003c/em>\u003c/a>, opening Feb. 24 in San Francisco. The opera, by composer \u003ca href=\"http://www.tedhearne.com/\" target=\"_blank\" rel=\"noopener\">Ted Hearne \u003c/a>and librettist \u003ca href=\"http://www.markdoten.com/\" target=\"_blank\" rel=\"noopener\">Mark Doten\u003c/a>, explores transgender soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html\" target=\"_blank\" rel=\"noopener\">Chelsea Manning’s\u003c/a> decision to disclose hundreds of thousands of classified and sensitive documents about the U.S. war in Iraq to Wikileaks. Hearne (who teaches composition at U.S.C.) and Doten tell their story with an auditory collage built out of news reports, Twitter blasts, emails between Manning and a hacker, and excerpts from the leaked documents — all sung by a group of vocalists using a lot of Autotune.\u003c/p>\n\u003cfigure id=\"attachment_12813003\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12813003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg\" alt=\"Ted Hearne, composer of ‘The Source’\" width=\"450\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-375x261.jpg 375w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Ted Hearne, composer of ‘The Source.’ \u003ccite>(Photo: Nathan Lee Bush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story is all the more compelling after former President Obama’s decision to pardon Manning, and after Wikileaks went from being seen as a hero of the left to its villain by distributing hacked emails from Democratic National Committee officials during the 2016 campaign. This is not your grandmother’s opera, but if she marched recently wearing a pussy hat she crocheted herself, bring her along. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘The Source’ runs Feb. 24–March 3 at the Taube Atrium Theater. Details for the show, presented by the San Francisco Opera Lab, are \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0TJPYb1KxXc\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xa78BMHajPM\u003c/p>\n\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZTXN084yTw\u003c/p>\n\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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": "The Do List features an opera on Chelsea Manning, Otis Taylor's trance blues, the band Bell X1 and more.",
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"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop | KQED",
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"headline": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0TJPYb1KxXc'\n title='//www.youtube.com/embed/0TJPYb1KxXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xa78BMHajPM'\n title='//www.youtube.com/embed/xa78BMHajPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sZTXN084yTw'\n title='//www.youtube.com/embed/sZTXN084yTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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>Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline the festival in 2018.\u003c/p>\n\u003cp>In a statement to The Associated Press on Thursday, Beyonce’s Parkwood Entertainment and festival producer Goldenvoice said the pop star had to pull out of the famed festival under doctor’s orders.\u003c/p>\n\u003cp>“Following the advice of her doctors to keep a less rigorous schedule in the coming months, Beyonce has made the decision to forgo performing at the 2017 Coachella Valley Music & Arts Festival,” the statement said. “However, Goldenvoice and Parkwood are pleased to confirm that she will be a headliner at the 2018 festival. Thank you for your understanding.”\u003c/p>\n\u003cp>It was not clear who will perform in her absence. Radiohead and Kendrick Lamar will also headline the two-weekend festival in Indio, California. Radiohead will perform on April 14 and 21, and Lamar on April 16 and 23.\u003c/p>\n\u003cp>Beyonce was originally set to perform April 15 and 22. It would have marked her first time she performed at the festival, and she would have been the first female act to headline Coachella since Bjork in 2007.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyonce, who last appeared at Coachella in 2014 when she danced onstage during her sister Solange’s set, announced last month that she and Jay Z are expecting twins. It is not clear when Beyonce is due to give birth. Earlier this month, the pregnant singer performed at the Grammy Awards, where she won two honors for her genre-bending album, “Lemonade.”\u003c/p>\n\u003cp>Jay Z, 47, and Beyonce, 35, are the parents of Blue Ivy, who was born in 2012.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other performers at this year’s Coachella include Lorde, the xx, Bon Iver, Future, Gucci Mane, Justice, DJ Snake, DJ Khaled and Father John Misty.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline the festival in 2018.\u003c/p>\n\u003cp>In a statement to The Associated Press on Thursday, Beyonce’s Parkwood Entertainment and festival producer Goldenvoice said the pop star had to pull out of the famed festival under doctor’s orders.\u003c/p>\n\u003cp>“Following the advice of her doctors to keep a less rigorous schedule in the coming months, Beyonce has made the decision to forgo performing at the 2017 Coachella Valley Music & Arts Festival,” the statement said. “However, Goldenvoice and Parkwood are pleased to confirm that she will be a headliner at the 2018 festival. Thank you for your understanding.”\u003c/p>\n\u003cp>It was not clear who will perform in her absence. Radiohead and Kendrick Lamar will also headline the two-weekend festival in Indio, California. Radiohead will perform on April 14 and 21, and Lamar on April 16 and 23.\u003c/p>\n\u003cp>Beyonce was originally set to perform April 15 and 22. It would have marked her first time she performed at the festival, and she would have been the first female act to headline Coachella since Bjork in 2007.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyonce, who last appeared at Coachella in 2014 when she danced onstage during her sister Solange’s set, announced last month that she and Jay Z are expecting twins. It is not clear when Beyonce is due to give birth. Earlier this month, the pregnant singer performed at the Grammy Awards, where she won two honors for her genre-bending album, “Lemonade.”\u003c/p>\n\u003cp>Jay Z, 47, and Beyonce, 35, are the parents of Blue Ivy, who was born in 2012.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other performers at this year’s Coachella include Lorde, the xx, Bon Iver, Future, Gucci Mane, Justice, DJ Snake, DJ Khaled and Father John Misty.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Star Amerasu Confronts Trauma With Beauty -- Specifically, Electro-Pop",
"headTitle": "Star Amerasu Confronts Trauma With Beauty — Specifically, Electro-Pop | KQED",
"content": "\u003cp>\u003ca href=\"https://www.facebook.com/staramerasusf/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Star Amerasu\u003c/a> greets me with a smile at the front door of her charmingly dilapidated South Berkeley home, a two-story house with an unmistakable communal living vibe. Things have calmed down in the year that she’s lived here, she says, but the place used to host quite a few ragers. The bra hanging from the front door’s metal grate is a dead giveaway.\u003c/p>\n\u003cp>Amerasu, whose long, turquoise hair hangs below the neckline of her grey dress, leads me down a winding staircase to her bedroom in the basement. A keyboard and sample pad are propped up against one corner of the room; a coat rack with colorful jackets and dresses occupies another. Incense wafts through the air from a nearby altar as we sit down on her bed.\u003c/p>\n\u003cp>“I’ve recently been doing a lot of self-care, staying in my little dungeon,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12803808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12803808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg\" alt=\"star_flowergrass\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ryan Molanr\u003c/figcaption>\u003c/figure>\n\u003cp>In this sanctuary-like environment, Amerasu wrote the songs for \u003cem>Rebecca\u003c/em>, the gorgeous, self-produced electro-pop EP she’s releasing under the moniker Ah Mer Ah Su on Feb. 26. She’ll debut songs from it live at El Rio this Wednesday, March 1.\u003c/p>\n\u003cp>Since releasing her debut EP, \u003cem>Eclipsing\u003c/em>, in 2016, Amerasu’s been impossible to ignore in the Bay Area’s queer scene. She’s performed at popular parties Ships in the Night and Swagger Like Us, and played at the trans march during San Francisco Pride. Next month, she’s off to perform at Austin’s South By Southwest, and in April, she’ll travel to Melbourne, Australia to headline Transgenre, a festival spotlighting trans and gender non-conforming performers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vlK3VqVlWDQ\u003c/p>\n\u003cp>“It’s very rare that I do a performance that’s not for a queer event. I do think it would be interesting if I had more crossover,” she says, adding with a shrug that straight promoters rarely book her. “I think about like, ‘Who are the black trans women making indie electronic music in America?’ I know there’s more than just me, and we’re out there, but how do we bubble up and get recognition?”\u003c/p>\n\u003cp>Amerasu has always been a bit of a nomad. Her mom, whom she describes as an “Afrofuturist hippie,” moved their family often: as a child the musician lived in Florida, Oregon, Texas, Michigan, and Washington. As a young adult she enrolled in Cornish College of the Arts in Seattle to study musical theater, but dropped out after a semester and moved to Austin, Texas.\u003c/p>\n\u003cp>There, she began the process of transitioning. It didn’t take long to find out she was not in a supportive environment for trans people.\u003c/p>\n\u003cp>“My roommate was like, ‘I think what you’re doing is wrong. You have two weeks to leave the house,’” she says. “I had a little bit over $1,000 saved so I just moved [to the Bay Area].”\u003c/p>\n\u003cp>Amerasu is candid, in her music and in person, about the ways life’s challenges have shaped her. She tackles a variety of heavy themes in \u003cem>Rebecca\u003c/em>’s five tracks: Being a victim of sexual assault, turning to drugs to cope with a loved one’s death, and dealing with men who are secretive about their attraction to trans women. Her lyrics can be brutal in their honesty, but Amerasu also spins them into sparkly, lo-fi pop gems with her loop pedal and keyboard, juxtaposing her soulful voice with ebullient electronics. “Klonopin,” the EP’s lead single, does this masterfully: \u003cem>I want to forget my life / I want to forget my strife\u003c/em>, Amerasu sings in a falsetto, over trap high-hats and twinkly keys that evoke a toy piano.\u003c/p>\n\u003cp>She wrote “Klonopin,” she says, during a particularly rough period last year, when her friend, the trans writer Bryn Kelly, died of an apparent suicide.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/288870595″ 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>“The only way that I could get through my day was I was taking [MDMA] at night and then feeling sad the next day and taking Klonopin and drinking — not really having good coping skills dealing with loss,” she says, her voice shaking slightly. “But it was really needed for me at the time. I was having a lot of anxiety around death.”\u003c/p>\n\u003cp>\u003cem>Rebecca\u003c/em> takes its name from Beyonce’s infamous “Becky with the good hair” line from “Sorry,” a track from\u003cem> Lemonade\u003c/em>. Since that album’s 2016 release, the name Becky has become synonymous with a Starbucks-sipping white woman oblivious to her own privilege.\u003c/p>\n\u003cp>“The backlash of a lot of white tears and the idea of ‘Becky’ being a racial slur — and the idea of white fragility at the detriment of black power — is something that comes to my mind when I think about it,” she says. “The idea behind it is ‘Becky’ is someone who thinks their life is so hard or white people are being oppressed. Which is not true.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6PZHb8FiMfY\u003c/p>\n\u003cp>Amerasu tackles this theme with humor on the track “Meg Ryan,” an ’80s-inspired synth-pop jam that calls to mind Cyndi Lauper or early Madonna. “\u003cem>I’m a white woman, I can do whatever I want\u003c/em>,” Amerasu talk-sings in a valley girl voice. In the track’s music video, she traipses around town in a blond wig, widening her eyes in an expression of faux doe-eyed innocence.\u003c/p>\n\u003cp>Amerasu remains an optimist, however, even as she takes on heavy life experiences in her music. When I ask her what she likes to do for fun, she smiles mischievously. “Party,” she says, simply.\u003c/p>\n\u003cp>“In the face of oppression, how else are we supposed to … ?” she trails off.\u003c/p>\n\u003cp>“There are other ways you can clear your mind and stuff, but I think it’s okay to drink or do drugs or whatever you f-cking need to push you through the day,” she says finally. “I think it’s a fallacy to think that there’s only one way to be.”\u003c/p>\n\u003cp>And then her face changes, as it does, from a serious and thoughtful expression to a sly grin. “I’m doing me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>Star Amerasu performs at 9pm on Wednesday, March 1 at \u003ca href=\"http://www.elriosf.com/\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> in San Francisco. $5-$10 sliding scale; \u003ca href=\"https://www.facebook.com/events/1823437051238046/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/staramerasusf/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Star Amerasu\u003c/a> greets me with a smile at the front door of her charmingly dilapidated South Berkeley home, a two-story house with an unmistakable communal living vibe. Things have calmed down in the year that she’s lived here, she says, but the place used to host quite a few ragers. The bra hanging from the front door’s metal grate is a dead giveaway.\u003c/p>\n\u003cp>Amerasu, whose long, turquoise hair hangs below the neckline of her grey dress, leads me down a winding staircase to her bedroom in the basement. A keyboard and sample pad are propped up against one corner of the room; a coat rack with colorful jackets and dresses occupies another. Incense wafts through the air from a nearby altar as we sit down on her bed.\u003c/p>\n\u003cp>“I’ve recently been doing a lot of self-care, staying in my little dungeon,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12803808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12803808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg\" alt=\"star_flowergrass\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ryan Molanr\u003c/figcaption>\u003c/figure>\n\u003cp>In this sanctuary-like environment, Amerasu wrote the songs for \u003cem>Rebecca\u003c/em>, the gorgeous, self-produced electro-pop EP she’s releasing under the moniker Ah Mer Ah Su on Feb. 26. She’ll debut songs from it live at El Rio this Wednesday, March 1.\u003c/p>\n\u003cp>Since releasing her debut EP, \u003cem>Eclipsing\u003c/em>, in 2016, Amerasu’s been impossible to ignore in the Bay Area’s queer scene. She’s performed at popular parties Ships in the Night and Swagger Like Us, and played at the trans march during San Francisco Pride. Next month, she’s off to perform at Austin’s South By Southwest, and in April, she’ll travel to Melbourne, Australia to headline Transgenre, a festival spotlighting trans and gender non-conforming performers.\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/vlK3VqVlWDQ'\n title='//www.youtube.com/embed/vlK3VqVlWDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s very rare that I do a performance that’s not for a queer event. I do think it would be interesting if I had more crossover,” she says, adding with a shrug that straight promoters rarely book her. “I think about like, ‘Who are the black trans women making indie electronic music in America?’ I know there’s more than just me, and we’re out there, but how do we bubble up and get recognition?”\u003c/p>\n\u003cp>Amerasu has always been a bit of a nomad. Her mom, whom she describes as an “Afrofuturist hippie,” moved their family often: as a child the musician lived in Florida, Oregon, Texas, Michigan, and Washington. As a young adult she enrolled in Cornish College of the Arts in Seattle to study musical theater, but dropped out after a semester and moved to Austin, Texas.\u003c/p>\n\u003cp>There, she began the process of transitioning. It didn’t take long to find out she was not in a supportive environment for trans people.\u003c/p>\n\u003cp>“My roommate was like, ‘I think what you’re doing is wrong. You have two weeks to leave the house,’” she says. “I had a little bit over $1,000 saved so I just moved [to the Bay Area].”\u003c/p>\n\u003cp>Amerasu is candid, in her music and in person, about the ways life’s challenges have shaped her. She tackles a variety of heavy themes in \u003cem>Rebecca\u003c/em>’s five tracks: Being a victim of sexual assault, turning to drugs to cope with a loved one’s death, and dealing with men who are secretive about their attraction to trans women. Her lyrics can be brutal in their honesty, but Amerasu also spins them into sparkly, lo-fi pop gems with her loop pedal and keyboard, juxtaposing her soulful voice with ebullient electronics. “Klonopin,” the EP’s lead single, does this masterfully: \u003cem>I want to forget my life / I want to forget my strife\u003c/em>, Amerasu sings in a falsetto, over trap high-hats and twinkly keys that evoke a toy piano.\u003c/p>\n\u003cp>She wrote “Klonopin,” she says, during a particularly rough period last year, when her friend, the trans writer Bryn Kelly, died of an apparent suicide.\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/288870595″&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/288870595″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The only way that I could get through my day was I was taking [MDMA] at night and then feeling sad the next day and taking Klonopin and drinking — not really having good coping skills dealing with loss,” she says, her voice shaking slightly. “But it was really needed for me at the time. I was having a lot of anxiety around death.”\u003c/p>\n\u003cp>\u003cem>Rebecca\u003c/em> takes its name from Beyonce’s infamous “Becky with the good hair” line from “Sorry,” a track from\u003cem> Lemonade\u003c/em>. Since that album’s 2016 release, the name Becky has become synonymous with a Starbucks-sipping white woman oblivious to her own privilege.\u003c/p>\n\u003cp>“The backlash of a lot of white tears and the idea of ‘Becky’ being a racial slur — and the idea of white fragility at the detriment of black power — is something that comes to my mind when I think about it,” she says. “The idea behind it is ‘Becky’ is someone who thinks their life is so hard or white people are being oppressed. Which is not true.”\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/6PZHb8FiMfY'\n title='//www.youtube.com/embed/6PZHb8FiMfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amerasu tackles this theme with humor on the track “Meg Ryan,” an ’80s-inspired synth-pop jam that calls to mind Cyndi Lauper or early Madonna. “\u003cem>I’m a white woman, I can do whatever I want\u003c/em>,” Amerasu talk-sings in a valley girl voice. In the track’s music video, she traipses around town in a blond wig, widening her eyes in an expression of faux doe-eyed innocence.\u003c/p>\n\u003cp>Amerasu remains an optimist, however, even as she takes on heavy life experiences in her music. When I ask her what she likes to do for fun, she smiles mischievously. “Party,” she says, simply.\u003c/p>\n\u003cp>“In the face of oppression, how else are we supposed to … ?” she trails off.\u003c/p>\n\u003cp>“There are other ways you can clear your mind and stuff, but I think it’s okay to drink or do drugs or whatever you f-cking need to push you through the day,” she says finally. “I think it’s a fallacy to think that there’s only one way to be.”\u003c/p>\n\u003cp>And then her face changes, as it does, from a serious and thoughtful expression to a sly grin. “I’m doing me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>Star Amerasu performs at 9pm on Wednesday, March 1 at \u003ca href=\"http://www.elriosf.com/\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> in San Francisco. $5-$10 sliding scale; \u003ca href=\"https://www.facebook.com/events/1823437051238046/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last June, my band the Alphabet Rockers set out to produce a series of videos for our kids and families to entertain them through the summer. My songwriting partner Tommy Shepherd and I had been writing from a place of racial justice for over a year, and just wrapped a six-month tour that made talking about skin color fun and permissive for whole families. During that time, parents kept asking us how to talk to their kids about the harder topics, such as:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>How do I teach my daughter to have self-confidence?\u003cbr>\nHow do I talk to my 6-year-old about police brutality without scaring him?\u003c/em>\u003c/p>\n\u003cp>One week later, Philando Castile was shot in front of his girlfriend and her 4-year old daughter. Tommy and I stopped our video project. We had to write new songs that made racial justice a part of how children framed the world. It would not be comfortable and it would not be easy — we might puncture the bubble that protects some children’s innocence.\u003c/p>\n\u003cp>But hip-hop is truth and it’s our time for us to tell these truths. We would find a way to keep our work positive while making the conversation around social justice for our children both honest and joyous. It was our responsibility as children’s artists to give us all a shared language about these complex topics, so we can activate and countering them with our children.\u003c/p>\n\u003cfigure id=\"attachment_12803399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-800x533.jpg\" alt=\"Kaitlin McGaw\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12803399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlin McGaw \u003ccite>(Photo: Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find the words for these new songs, we turned to poets, leaders, and visionaries who had shifted our thinking for inspiration. James Baldwin, Martin Luther King, Jr., President Barack and Michelle Obama, Mahatma Gandhi, Alicia Garza & Opal Tometi, Tupac Shakur, Tatyana Fazlalizadeh, Harriet Tubman, and especially Maya Angelou, whom I can honestly say changed my life for the better. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I first heard Angelou’s words in “Still I Rise” read by a fellow high schooler at a talent show — the words in her voice as real and powerful as if she had penned them herself, the smile in the corner of her mouth revealing the power they held to her core. I had never heard this black girl magic, this powerful legacy and declaration of resilience. Phrase by phrase, I was transformed. Her poem revealed to me how silent the truth had been in my life. The history I knew, books I had been assigned, novels I had chosen — everything needed to be reframed. I was 14, and I knew I’d been lied to by well-meaning liberal parents, a school district buried in whiteness, and a community breeding assimilation. \u003c/p>\n\u003cp>Maya’s poetry reshaped my sense of identity and began a lifelong conversation to counter the cultural sweep we live in. But for me, 14 was too late to start this conversation. What if we started at four months, like my little baby is now? What if, in our work as Alphabet Rockers, we decided that this conversation, this poem, these words of truth would not ruin childhood, but rather start our little rockers on a journey to fight injustice? Just as Angelou’s words had taught me to understand the flaws of the system, our words and songs could develop within children an understanding of justice and logic in tandem with learning to walk, speak and write. \u003c/p>\n\u003cfigure id=\"attachment_12803401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FullSizeRender-800x533.jpg\" alt=\"Crowd at an Alphabet Rockers show\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12803401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd at an Alphabet Rockers show. \u003ccite>(Photo: Marcus Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our children need to understand our world’s failures and see its ugliness. To cry with us, and to love and innovate and live boldly beyond any walls or rules set in place by the past. And in that process, let them know how much we believe in them and their brilliance.\u003c/p>\n\u003cp>Last week in Daly City, the band and I asked a school assembly what they wanted to change in the world right now to make it better after we performed our song, “Change the World.” An eight-year-old answered, “All families need to feel safe, that they can stay here. It’s not fair to make people leave. This is their home.” This showed me that kids feel it all. They know what justice feels like, and they know that they — and all of us — are living in a time of great injustices. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last June, my band the Alphabet Rockers set out to produce a series of videos for our kids and families to entertain them through the summer. My songwriting partner Tommy Shepherd and I had been writing from a place of racial justice for over a year, and just wrapped a six-month tour that made talking about skin color fun and permissive for whole families. During that time, parents kept asking us how to talk to their kids about the harder topics, such as:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/20/maya-angelou-legacy-of-an-artist/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg\" alt=\"Maya_300x300\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12735398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Maya_300x300-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>How do I teach my daughter to have self-confidence?\u003cbr>\nHow do I talk to my 6-year-old about police brutality without scaring him?\u003c/em>\u003c/p>\n\u003cp>One week later, Philando Castile was shot in front of his girlfriend and her 4-year old daughter. Tommy and I stopped our video project. We had to write new songs that made racial justice a part of how children framed the world. It would not be comfortable and it would not be easy — we might puncture the bubble that protects some children’s innocence.\u003c/p>\n\u003cp>But hip-hop is truth and it’s our time for us to tell these truths. We would find a way to keep our work positive while making the conversation around social justice for our children both honest and joyous. It was our responsibility as children’s artists to give us all a shared language about these complex topics, so we can activate and countering them with our children.\u003c/p>\n\u003cfigure id=\"attachment_12803399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-800x533.jpg\" alt=\"Kaitlin McGaw\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12803399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KaitlinMcGaw-AndriaLo.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaitlin McGaw \u003ccite>(Photo: Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find the words for these new songs, we turned to poets, leaders, and visionaries who had shifted our thinking for inspiration. James Baldwin, Martin Luther King, Jr., President Barack and Michelle Obama, Mahatma Gandhi, Alicia Garza & Opal Tometi, Tupac Shakur, Tatyana Fazlalizadeh, Harriet Tubman, and especially Maya Angelou, whom I can honestly say changed my life for the better. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I first heard Angelou’s words in “Still I Rise” read by a fellow high schooler at a talent show — the words in her voice as real and powerful as if she had penned them herself, the smile in the corner of her mouth revealing the power they held to her core. I had never heard this black girl magic, this powerful legacy and declaration of resilience. Phrase by phrase, I was transformed. Her poem revealed to me how silent the truth had been in my life. The history I knew, books I had been assigned, novels I had chosen — everything needed to be reframed. I was 14, and I knew I’d been lied to by well-meaning liberal parents, a school district buried in whiteness, and a community breeding assimilation. \u003c/p>\n\u003cp>Maya’s poetry reshaped my sense of identity and began a lifelong conversation to counter the cultural sweep we live in. But for me, 14 was too late to start this conversation. What if we started at four months, like my little baby is now? What if, in our work as Alphabet Rockers, we decided that this conversation, this poem, these words of truth would not ruin childhood, but rather start our little rockers on a journey to fight injustice? Just as Angelou’s words had taught me to understand the flaws of the system, our words and songs could develop within children an understanding of justice and logic in tandem with learning to walk, speak and write. \u003c/p>\n\u003cfigure id=\"attachment_12803401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FullSizeRender-800x533.jpg\" alt=\"Crowd at an Alphabet Rockers show\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12803401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FullSizeRender-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowd at an Alphabet Rockers show. \u003ccite>(Photo: Marcus Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our children need to understand our world’s failures and see its ugliness. To cry with us, and to love and innovate and live boldly beyond any walls or rules set in place by the past. And in that process, let them know how much we believe in them and their brilliance.\u003c/p>\n\u003cp>Last week in Daly City, the band and I asked a school assembly what they wanted to change in the world right now to make it better after we performed our song, “Change the World.” An eight-year-old answered, “All families need to feel safe, that they can stay here. It’s not fair to make people leave. This is their home.” This showed me that kids feel it all. They know what justice feels like, and they know that they — and all of us — are living in a time of great injustices. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grace Slick doesn’t like Chick-fil-A, but she’ll happily take their money and do what she wants with it.\u003c/p>\n\u003cp>In an essay \u003ca href=\"http://www.forbes.com/sites/bizblog/2017/02/21/why-i-decided-to-license-starships-music-to-chick-fil-a\" target=\"_blank\" rel=\"noopener\">published at Forbes.com\u003c/a>, the 77-year-old former singer of Jefferson Airplane and Jefferson Starship said that Chick-fil-A licensed one of her songs, “Nothing’s Going to Stop Us Now,” for a commercial. Initially she planned to refuse the offer over the company’s \u003ca href=\"http://www.nytimes.com/2012/07/26/us/gay-rights-uproar-over-chick-fil-a-widens.html\" target=\"_blank\" rel=\"noopener\">well-publicized views on gay rights\u003c/a>, but she said she agreed so she could donate the money to a group that supports LGBTQ communities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3wxyN3z9PL4\u003c/p>\n\u003cp>“I am donating every dime that I make from that ad to Lambda Legal, the largest national legal organization working to advance the civil rights of LGBTQ people, and everyone living with HIV,” Slick wrote for Forbes.com. “Admittedly it’s not the millions that WinShape has given to organizations that define marriage as heterosexual. But instead of them replacing my song with someone else’s and losing this opportunity to strike back at anti-LGBTQ forces, I decided to spend the cash in direct opposition to “Check”-fil-A’s causes – and to make a public example of them, too.”\u003c/p>\n\u003cp>(The \u003ca href=\"http://foundation.winshape.org/about/\" target=\"_blank\" rel=\"noopener\">WinShape Foundation\u003c/a> is the non-profit organization started by the founders of Chick-fil-A.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slick insists in her piece that she’s not making excuses for “selling out,” but rather setting an example of other artists.\u003c/p>\n\u003cp>“See, I come from a time when artists didn’t just sell their soul to the highest bidder, when musicians took a stand, when the message of songs was ‘feed your head,’ not ‘feed your wallet.’ We need that kind of artistic integrity today, more than ever,” Slick wrote.\u003c/p>\n\u003cp>Many of Slick’s songs have been used commercials and movies. Back in 1967, Jefferson Airplane composed radio jingles for Levi Jeans (video below). The Starship song “Nothing’s Going to Stop Us Now” was used in the 1987 Kim Cattrall, Andrew McCarthy film \u003ci>Mannequin.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gw0C5Sga6So\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>BONUS:\u003c/b> Watch Slick speak to KQED’s \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/215068\" target=\"_blank\" rel=\"noopener\">Evening Edition back in 1977\u003c/a>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grace Slick doesn’t like Chick-fil-A, but she’ll happily take their money and do what she wants with it.\u003c/p>\n\u003cp>In an essay \u003ca href=\"http://www.forbes.com/sites/bizblog/2017/02/21/why-i-decided-to-license-starships-music-to-chick-fil-a\" target=\"_blank\" rel=\"noopener\">published at Forbes.com\u003c/a>, the 77-year-old former singer of Jefferson Airplane and Jefferson Starship said that Chick-fil-A licensed one of her songs, “Nothing’s Going to Stop Us Now,” for a commercial. Initially she planned to refuse the offer over the company’s \u003ca href=\"http://www.nytimes.com/2012/07/26/us/gay-rights-uproar-over-chick-fil-a-widens.html\" target=\"_blank\" rel=\"noopener\">well-publicized views on gay rights\u003c/a>, but she said she agreed so she could donate the money to a group that supports LGBTQ communities.\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/3wxyN3z9PL4'\n title='//www.youtube.com/embed/3wxyN3z9PL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I am donating every dime that I make from that ad to Lambda Legal, the largest national legal organization working to advance the civil rights of LGBTQ people, and everyone living with HIV,” Slick wrote for Forbes.com. “Admittedly it’s not the millions that WinShape has given to organizations that define marriage as heterosexual. But instead of them replacing my song with someone else’s and losing this opportunity to strike back at anti-LGBTQ forces, I decided to spend the cash in direct opposition to “Check”-fil-A’s causes – and to make a public example of them, too.”\u003c/p>\n\u003cp>(The \u003ca href=\"http://foundation.winshape.org/about/\" target=\"_blank\" rel=\"noopener\">WinShape Foundation\u003c/a> is the non-profit organization started by the founders of Chick-fil-A.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slick insists in her piece that she’s not making excuses for “selling out,” but rather setting an example of other artists.\u003c/p>\n\u003cp>“See, I come from a time when artists didn’t just sell their soul to the highest bidder, when musicians took a stand, when the message of songs was ‘feed your head,’ not ‘feed your wallet.’ We need that kind of artistic integrity today, more than ever,” Slick wrote.\u003c/p>\n\u003cp>Many of Slick’s songs have been used commercials and movies. Back in 1967, Jefferson Airplane composed radio jingles for Levi Jeans (video below). The Starship song “Nothing’s Going to Stop Us Now” was used in the 1987 Kim Cattrall, Andrew McCarthy film \u003ci>Mannequin.\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/gw0C5Sga6So'\n title='//www.youtube.com/embed/gw0C5Sga6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>BONUS:\u003c/b> Watch Slick speak to KQED’s \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/215068\" target=\"_blank\" rel=\"noopener\">Evening Edition back in 1977\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grace Cathedral Hosts an Eclectic, Musical 'Elegy For Ghost Ship'",
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"content": "\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YfeAKC3307k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Nearly three months after the fire left a void in the Bay Area's underground music scene, a Feb. 23 tribute show reflects the diversity, breadth and creativity of those lost. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly three months since the Oakland\u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\"> Ghost Ship fire took the lives of 36 people\u003c/a>, leaving behind a massive void in the Bay Area’s underground music scene.\u003c/p>\n\u003cp>It makes sense, then, that the shows and fundraisers to honor the victims (of which there\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/oakland-fire-benefit-serves-up-tears-sweat-and-musical-catharsis-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener\"> have been many\u003c/a>) tend to include impressively diverse, genre-crossing lineups. \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">Elegy For Ghost Ship: An Evening of Music I\u003c/a>\u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">n Remembrance\u003c/a>, taking place this Thursday, Feb. 23, at San Francisco’s beautiful Grace Cathedral, is no exception. Organized by Gabriel Connor (a friend of fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/cash-askew/\" target=\"_blank\" rel=\"noopener\">Cash Askew\u003c/a>), and the Reverend Megan Rohrer (who, like Askew, is trans), the event offers an inclusive space to those affected by the fire.\u003c/p>\n\u003cp>“After losing a good friend in the fire and being with many other grieving friends, I felt compelled to seek out the mercy of a sacred space where all could grieve, heal, and raise up visions,” Connor writes in an email. “Grace Cathedral has a universal appeal among Bay Area residents. The Cathedral also enjoys a history as a beacon for LGBT rights. The architecture and acoustics alone evoke profound feelings that carry beyond the Christian tradition.” He noted that several other event organizers as well as performers had lost loved ones in the fire.\u003c/p>\n\u003cp>The bill of performers currently includes acclaimed throat-singer Enrique Ugalde (aka \u003ca href=\"https://www.facebook.com/soriahmusic/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Soriah\u003c/a>); Nethorthot Luku of \u003ca href=\"http://earthchildbutoh.org\" target=\"_blank\" rel=\"noopener\">Earth Child\u003c/a> (performing the Japanese art of Butoh); \u003ca href=\"https://www.facebook.com/katabatiksound/\" target=\"_blank\" rel=\"noopener\">Katabik\u003c/a> (a label/music collective playing “estoeric ambient sounds”); the\u003ca href=\"https://www.facebook.com/spazcollective\" target=\"_blank\" rel=\"noopener\"> S.P.A.Z. collective\u003c/a> (ambient electronica); violinist Maki Ishii Sowash and cellist Victoria Ehrlich of the \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> orchestra; Jealous (hypnotic bass guitarist and songwriter Mark Treise); Oakland post-punk band The World; experimental music from Aja Archuleta a.k.a. Piano Rain; Jason Cool on sitar; Singers of the Street (a choir of people who are/have been homeless); readings from Reverends Lyle Beckman and Megan Rohrer, and more.\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/YfeAKC3307k'\n title='//www.youtube.com/embed/YfeAKC3307k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cathedral itself, of course, could be considered another performer of sorts; the likes of \u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\">Duke Ellington\u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/14/from-the-club-to-the-cathedral-revisiting-duke-ellingtons-controversial-sacred-concert/\" target=\"_blank\" rel=\"noopener\"> have selected its chambers for their unique effect on live music\u003c/a>. Non-audio components set up throughout the space will include projections by Terry Estioko from “Viberatio\u003cspan class=\"text_exposed_show\">n,” Sabina Luu and Mike Cascino. Organizers plan to arrange an altar at which attendees can place offerings for victims as well. \u003c/span>\u003c/p>\n\u003cp>“A wide range of tones will be heard Thursday night: we’ll have both a solemn funeral and an ecstatic wake; the sacred and secular will voice a common prayer,” says Connor of the evening’s programming.\u003c/p>\n\u003cp>“Artist communities in the Bay Area are facing a lack of hospitality and gratitude,” he added, explaining the choice of Grace Cathedral as a venue. “Studio spaces are becoming condos; bars and other gathering places have been rooted up and replaced by an unneighborly and hyper-commercial scene.”\u003c/p>\n\u003cp>The hosting by a church isn’t without precedent: in the weeks after the Ghost Ship fire, Oakland’s Chapel of the Chimes \u003ca href=\"http://www.eastbaytimes.com/2016/12/18/oakland-warehouse-fire-chapel-of-chimes-musical-event-honors-dead/\" target=\"_blank\" rel=\"noopener\">hosted a number of musical gatherings\u003c/a> for mourners. “In times like these, it is especially important for churches and centers of faith to open their doors and provide shelter, light, and a canvas,” Connor says. “Arts warehouses and churches are not so different; they are each collective bodies, seeking wisdom, doing justice, laboring not for profit but for truth and beauty.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003cem>‘Elegy For Ghost Ship: An Evening of Music In Remembrance’ takes place at 7:45pm on Thursday, Feb. 23, at \u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> in San Francisco. Free; \u003ca href=\"https://www.facebook.com/events/1260554253979942/\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read KQED’s coverage of the \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">Ghost Ship tragedy here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With 'Shanghai Angel,' Heather Klein Tells a Timely Refugee Tale",
"headTitle": "With ‘Shanghai Angel,’ Heather Klein Tells a Timely Refugee Tale | KQED",
"content": "\u003cp>Heather Klein couldn’t have predicted the current political climate when she first began work on her new musical performance piece, \u003cem>Shanghai Angel\u003c/em>. But somehow, it’s being released into the world — it premieres at San Francisco’s Contemporary Jewish Museum on Feb. 23 and 26 — at what some might say is exactly the right moment.\u003c/p>\n\u003cp>\u003cem>Shanghai Angel\u003c/em> tells the story of Klein’s grandmother who fled Nazi-occupied Austria for China, where she boarded a boat to the United States and was summarily detained for nearly two weeks on Angel Island. Her perilous journey contains striking parallels to these perplexing political times of immigration bans and mass confusion.\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>“I started working on this over a year and a half ago. I never could have imagined that I’d be putting this show on at a time that this is a topic, this is a reality,” says Klein from her home in Las Vegas, where she moved from San Francisco a little over a year ago. “It’s mind-boggling, actually.”\u003c/p>\n\u003cp>In the musical, Klein performs songs she composed from the perspective of her grandmother. The 45-minute show, featuring nine original songs and live piano and percussion accompaniment by Joshua Horowitz, will be followed by a short discussion with experts from the Angel Island Immigration Station Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Klein is a classically trained soprano who’s traveled the world both as a soloist and with various ensembles, and who is currently cantorial soloist at Temple Sinai in Las Vegas. In the past, she’s performed a modern Yiddish song cycle for Yom HaShoah — also at the CJM — as well as the role of Lilith in \u003cem>Lilith the Night Demon\u003c/em> by Veretski Pass. She’s also currently working on an opera about Cuba and Jews with Sundance and Music Theater Group. But \u003cem>Shanghai Angel\u003c/em> is her first foray into composing music and writing her own show.\u003c/p>\n\u003cp>The idea for \u003cem>Shanghai Angel\u003c/em> came after Klein’s family found the transcribed story of Rosa Ginsberg — Klein’s paternal grandmother — written by a volunteer at Angel Island’s immigration station.\u003c/p>\n\u003cfigure id=\"attachment_12792365\" class=\"wp-caption aligncenter\" style=\"max-width: 408px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12792365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\" alt=\"Rosa Klein with husband, Herbert, 1945\" width=\"408\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-375x246.png 375w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rosa Klein with husband, Herbert, 1945. \u003ccite>(via J Weekly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein’s father was doing a basic Google search when he happened upon the detainment story. They’d all known bits and pieces of Rosa’s life in Vienna and Shanghai, but the finding revealed much more, says Klein. Grandma Rosa, since deceased, had rarely talked about her past.\u003c/p>\n\u003cp>They learned how she’d escaped Vienna in December 1938, shortly after Kristallnacht, thanks to Ho Feng-Shan, a man known as the “Chinese Schindler” of Vienna. How she was the sole breadwinner in Shanghai and got a job in a curiosity shop in Tianjin (then known as Tientsin). Lastly, and most integral to \u003cem>Shanghai Angel\u003c/em>, they learned how Rosa, at age 18, had been detained upon her solo arrival in San Francisco. She had $2.50 to her name. Klein based her musical on her own understanding of these events and Rosa’s time at Angel Island, trying to imagine what she must have been going through during her journey.\u003c/p>\n\u003cp>“The show is really about her being trapped at Angel Island during those three weeks and looking back on her journey there from Vienna,” explains Klein. “I can only imagine the dark place she was in, being alone, having left her only family and trying to get to the United States.”\u003c/p>\n\u003cfigure id=\"attachment_12796343\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12796343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/klein.inline.jpg\" alt=\"Heather Klein.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Heather Klein. \u003ccite>(Betsy Kershner )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein says creating the piece was emotional work, but credits help along the way from family and friends — including her cousin Ben, an actor who helped dramatize the story, and her parents and aunt who provided additional (and sometimes conflicting) stories of her grandmother.\u003c/p>\n\u003cp>Emotions are also bubbling, Klein says, due to the connections to current U.S. policies. “It’s gotten more emotional as I’ve gotten closer to performing it, because of the news and this horrific reality,” she says. “It’s just setting in that it’s happening. It’s almost like ‘Oh my god, it’s happening again.”’\u003c/p>\n\u003cp>“Every time I hear something about people being detained… I’m just so inside this story right now. It’s very scary,” she says.\u003c/p>\n\u003cp>But there’s also a part of her that sees \u003cem>Shanghai Angel\u003c/em> premiering at this time for a reason. “Now I’m even more excited to tell it because I think it needs to be told, people need to hear it,” Klein says. She intentionally created a show that’s easy travel with — just her and her “partner in crime” Horowitz — with the idea of taking it on the road and performing for as many people as possible.\u003c/p>\n\u003cp>She hopes attendees will leave the performance spurred to ask their own family members questions about their past, to learn their stories while they’re still around. But in a broader sense, she says she wants \u003cem>Shanghai Angel\u003c/em> to encourage understanding of all immigrants and refugees.\u003c/p>\n\u003cp>“I hope people are more sympathetic and understanding about people who don’t live here and need to get out of another country and need a place that’s safe,” says Klein. “I hope people connect to her story and what she went through, the fears and the harsh reality when you need to escape.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Heather Klein performs ‘Shanghai Angel’ at the Contemporary Jewish Museum in San Francisco at 6:30pm on Thursday, Feb. 23, and 3pm on Sunday, Feb. 26. \u003ca href=\"https://www.thecjm.org/programs/56\" target=\"_blank\" rel=\"noopener\">Tickets ($15–$20) and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heather Klein couldn’t have predicted the current political climate when she first began work on her new musical performance piece, \u003cem>Shanghai Angel\u003c/em>. But somehow, it’s being released into the world — it premieres at San Francisco’s Contemporary Jewish Museum on Feb. 23 and 26 — at what some might say is exactly the right moment.\u003c/p>\n\u003cp>\u003cem>Shanghai Angel\u003c/em> tells the story of Klein’s grandmother who fled Nazi-occupied Austria for China, where she boarded a boat to the United States and was summarily detained for nearly two weeks on Angel Island. Her perilous journey contains striking parallels to these perplexing political times of immigration bans and mass confusion.\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>“I started working on this over a year and a half ago. I never could have imagined that I’d be putting this show on at a time that this is a topic, this is a reality,” says Klein from her home in Las Vegas, where she moved from San Francisco a little over a year ago. “It’s mind-boggling, actually.”\u003c/p>\n\u003cp>In the musical, Klein performs songs she composed from the perspective of her grandmother. The 45-minute show, featuring nine original songs and live piano and percussion accompaniment by Joshua Horowitz, will be followed by a short discussion with experts from the Angel Island Immigration Station Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Klein is a classically trained soprano who’s traveled the world both as a soloist and with various ensembles, and who is currently cantorial soloist at Temple Sinai in Las Vegas. In the past, she’s performed a modern Yiddish song cycle for Yom HaShoah — also at the CJM — as well as the role of Lilith in \u003cem>Lilith the Night Demon\u003c/em> by Veretski Pass. She’s also currently working on an opera about Cuba and Jews with Sundance and Music Theater Group. But \u003cem>Shanghai Angel\u003c/em> is her first foray into composing music and writing her own show.\u003c/p>\n\u003cp>The idea for \u003cem>Shanghai Angel\u003c/em> came after Klein’s family found the transcribed story of Rosa Ginsberg — Klein’s paternal grandmother — written by a volunteer at Angel Island’s immigration station.\u003c/p>\n\u003cfigure id=\"attachment_12792365\" class=\"wp-caption aligncenter\" style=\"max-width: 408px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12792365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\" alt=\"Rosa Klein with husband, Herbert, 1945\" width=\"408\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-375x246.png 375w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rosa Klein with husband, Herbert, 1945. \u003ccite>(via J Weekly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein’s father was doing a basic Google search when he happened upon the detainment story. They’d all known bits and pieces of Rosa’s life in Vienna and Shanghai, but the finding revealed much more, says Klein. Grandma Rosa, since deceased, had rarely talked about her past.\u003c/p>\n\u003cp>They learned how she’d escaped Vienna in December 1938, shortly after Kristallnacht, thanks to Ho Feng-Shan, a man known as the “Chinese Schindler” of Vienna. How she was the sole breadwinner in Shanghai and got a job in a curiosity shop in Tianjin (then known as Tientsin). Lastly, and most integral to \u003cem>Shanghai Angel\u003c/em>, they learned how Rosa, at age 18, had been detained upon her solo arrival in San Francisco. She had $2.50 to her name. Klein based her musical on her own understanding of these events and Rosa’s time at Angel Island, trying to imagine what she must have been going through during her journey.\u003c/p>\n\u003cp>“The show is really about her being trapped at Angel Island during those three weeks and looking back on her journey there from Vienna,” explains Klein. “I can only imagine the dark place she was in, being alone, having left her only family and trying to get to the United States.”\u003c/p>\n\u003cfigure id=\"attachment_12796343\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12796343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/klein.inline.jpg\" alt=\"Heather Klein.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Heather Klein. \u003ccite>(Betsy Kershner )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein says creating the piece was emotional work, but credits help along the way from family and friends — including her cousin Ben, an actor who helped dramatize the story, and her parents and aunt who provided additional (and sometimes conflicting) stories of her grandmother.\u003c/p>\n\u003cp>Emotions are also bubbling, Klein says, due to the connections to current U.S. policies. “It’s gotten more emotional as I’ve gotten closer to performing it, because of the news and this horrific reality,” she says. “It’s just setting in that it’s happening. It’s almost like ‘Oh my god, it’s happening again.”’\u003c/p>\n\u003cp>“Every time I hear something about people being detained… I’m just so inside this story right now. It’s very scary,” she says.\u003c/p>\n\u003cp>But there’s also a part of her that sees \u003cem>Shanghai Angel\u003c/em> premiering at this time for a reason. “Now I’m even more excited to tell it because I think it needs to be told, people need to hear it,” Klein says. She intentionally created a show that’s easy travel with — just her and her “partner in crime” Horowitz — with the idea of taking it on the road and performing for as many people as possible.\u003c/p>\n\u003cp>She hopes attendees will leave the performance spurred to ask their own family members questions about their past, to learn their stories while they’re still around. But in a broader sense, she says she wants \u003cem>Shanghai Angel\u003c/em> to encourage understanding of all immigrants and refugees.\u003c/p>\n\u003cp>“I hope people are more sympathetic and understanding about people who don’t live here and need to get out of another country and need a place that’s safe,” says Klein. “I hope people connect to her story and what she went through, the fears and the harsh reality when you need to escape.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Heather Klein performs ‘Shanghai Angel’ at the Contemporary Jewish Museum in San Francisco at 6:30pm on Thursday, Feb. 23, and 3pm on Sunday, Feb. 26. \u003ca href=\"https://www.thecjm.org/programs/56\" target=\"_blank\" rel=\"noopener\">Tickets ($15–$20) and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Mexico City Musicians, There's No Hiding From 'El Futuro'",
"headTitle": "For Mexico City Musicians, There’s No Hiding From ‘El Futuro’ | KQED",
"content": "\u003cp>It’s Halloween weekend in Mexico City, and my friend Mauricio Mendia is preparing for his DJ set at the American Legion. The theme for the night is disco.\u003c/p>\n\u003cp>As Mauricio sets up for the evening, he introduces me to a tall, skinny \u003cem>gringo\u003c/em> my age, with a terrible blonde wig, an offensive red tie, and a suit that looks straight from the Donald Trump Collection. With fake blood dripping down his forehead, he’s dressed up as an assassinated Donald Trump, just days before the election. We clink beers, and between the BeeGees and Donna Summer tracks, get to talking about our favorite punk bands.\u003c/p>\n\u003cp>The Trump impersonator turns out to be Brandon Welchez, lead singer of the New Wave-influenced noise pop group the Crocodiles. Welchez grew up in San Diego on a steady diet of punk, hanging with friends like Rafael Reyes from the cholo goth band Prayers. On one of his band’s first tours, Welchez toured with the drummer Palmolive, from early British punk group the Slits, and described her as his much cooler, musical fairy godmother.\u003c/p>\n\u003cfigure id=\"attachment_12780946\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg\" alt=\"Charles Rowell and Brandon Welchez of the band Crocodiles.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Charles Rowell and Brandon Welchez of the band Crocodiles. \u003ccite>(Bon Duke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moments later, Welchez and I walk towards the bar, where I watch AJ Dávila of the infamous Puerto Rican punk band Dávila 666 wrap Welchez up in what can only be described as a cub hug — he’s way too short to be described as a bear. He greets Welchez with a booming “BABY-SITO,” his term of endearment of choice, and kisses him on the cheek.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>[ad fullwidth]\u003c/p>\n\u003cp>In a few months, the pair will be leaving Mexico City together to start a world tour, kicking off in the States. One of their first stops is San Francisco, where on Thursday, Feb. 23, they’ll play Bottom of the Hill — a perfect place for two recovering punks to bring their brand of partying-mixed-with-politics, and to represent Mexico City well.\u003c/p>\n\u003cp>But these plans were made, of course, before the election — before any of us could have predicted how the election would affect their their tour, or our country. For that moment at the American Legion, Welchez and Dávila stand next to each other, cracking jokes as Mauricio plays Michael Jackson’s “Don’t Stop Till You Get Enough,” and everyone takes it as their cue to hit the dance floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The next day, on my way to the record label \u003ca href=\"http://www.discospanoram.com/\" target=\"_blank\" rel=\"noopener\">Discos Panoram\u003c/a> to discuss \u003cem>El Futuro\u003c/em>, Dávila’s upcoming record, I give the LP a full spin: due out in April, it’s an optimistic shoegaze album that fuses ’60s call-and-response vocals, psychedelic horns and distortion, and Fugazi-style guitar riffs with lyrics about heartbreak and an uncertain future. It’s also Dávila’s first solo album, created after he spent nearly a decade in the shock-punk band Dávila 666, then moved onto the post-grunge group AJ Dávila y Terror Amor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Js1P-jKHZpI\u003c/p>\n\u003cp>On his own, Dávila has refashioned himself; on \u003cem>El Futuro\u003c/em> he is less scrappy punk kid and more Puerto Rican sweetheart with rock ‘n’ roll charm.\u003c/p>\n\u003cp>The office of Discos Panoram feels like the set of a Luis Buñuel surrealist film. There’s a wall made up entirely of opened books, another of solid doors, and then spiral staircases that lead to a rooftop. In the open air, AJ swings his arms open and hugs me like he did Brandon the day before, belting out “BABY-SITA,” and I can’t help but laugh.\u003c/p>\n\u003cp>Flipping through the album’s liner notes, I ask him about one of my favorite songs, “SS Youth.” I can’t tell if I’ve missed something in the Spanish translation — if SS means something far less ominous in Mexico? — or if the grunge-inspired track is actually just dedicated to Sonic Youth. He seig-heils and tells me, “No, it’s about Donald Trump … and what it means to live in a society of likes.”\u003c/p>\n\u003cp>The words of Junot Díaz spring immediately to mind — particularly his writing on the rise of fascism, and his lived experience through Latin American dictatorships. “The axis of likability is how dictatorships survive,” he once said in \u003ca href=\"http://lithub.com/junot-diaz-hilton-als-talk-masculinity-science-fiction-and-writing-as-an-act-of-defiance/\" target=\"_blank\" rel=\"noopener\">an interview with Hilton Als\u003c/a>. “Becoming popular is part of what dictatorships hijack to remain in power.”\u003c/p>\n\u003cfigure id=\"attachment_12780950\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg\" alt=\"AJ Dávila.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dávila doesn’t tiptoe around his intentions with writing “SS Youth.” ”\u003c/p>\n\u003cp>“It’s an allusion to the Nazi youth, and how they did everything that the system told them to do,” he says. “Propaganda controlled everything that they did. And now, we think we’re living in a time of freedom, filled with capitalism and and liberty and justice for all, but no, it’s the same. The youth — instead of inheriting their parents’ values — their new parents are the television and the propaganda that’s all around them. What they see on television or what they hear from a politician, they believe it, and they act accordingly.”\u003c/p>\n\u003cp>In a society of likes, he seems to be saying, it’s entirely predictable that a reality star could become president. Though Dávila is from Puerto Rico, he’s lived in Chicago and toured the U.S. extensively. The states are his second home, when he’s away from Mexico City, where he currently lives. Even as an ex-pat, he says he can see the creeping wave of fascism in the United States.\u003c/p>\n\u003cp>Our conversation seems like an omen of the times to come. \u003cem>El Futuro.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Welchez and Dávila met in Mexico City in 2014, at a time when both of them were newly out of serious relationships and were moving away from their past lives. The two became roommates and “surrogate girlfriends” to each other, both looking for closeness in a city they loved but was not their own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3crkYDza5w\u003c/p>\n\u003cp>The friends began collaborating musically: you can hear Welchez’s guitar and vocals on Dávila’s album, \u003cem>El Futuro\u003c/em>, as well as records that Dávila has produced, including Dani Bander’s post-mariachi record, \u003cem>Malacopa\u003c/em>. Touring together came naturally, and they planned a four-week U.S. sweep through 21 cities; an upcoming South American and European Tour is still in the works.\u003c/p>\n\u003cp>But they couldn’t have anticipated how President Trump’s travel ban would impact those plans.\u003c/p>\n\u003cfigure id=\"attachment_12786115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12786115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg\" alt=\"AJ Davila and Rafael Reyes\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rafael Reyes, from the band Prayers, with AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the last few days, everything has kind of shifted, unfortunately,” Welchez tells me by phone, following news of the ban. It’s only been three months since we last saw each other in Mexico City, but with the nonstop news cycle, it feels like three lifetimes.\u003c/p>\n\u003cp>“We had a band of Mexican musicians and one Venezuelan, and we tried to get work visas but it was super, super expensive, so we thought about having them play here ‘illegally,’” he says of the tour. “But once Trump put that travel ban — that Muslim ban — in effect, we started thinking of how it would affect people in Latin America who had visas, travel visas, and we just got scared. Is it really fair to ask these people to risk their ability to come back [to the U.S.]?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7nqaCqMmaSQ\u003c/p>\n\u003cp>So the Crocodiles and AJ Dávila were left scrambling to find a new band comprised of entirely U.S. citizens, less than a week before their tour started. According to Dávila’s publicist, the average cost to get a touring visa for bands from Latin America is $6,000. Considering that the Mexican peso is currently valued at 21 pesos to the American dollar, and that the average yearly salary in Mexico City is $11,000 USD, securing a touring visa to the United States is a huge barrier for many bands from Latin America.\u003c/p>\n\u003cp>Between barriers to travel, recent immigration crackdowns, renewed ICE raids and the wall controversy, the next four years are sure to be tumultuous for U.S.-Mexico relations. What does it feel like, I ask Welchez, to be living as an American in Mexico City right now?\u003c/p>\n\u003cp>“Fear, frustration, embarrassment,” he says. “And in a way [I feel] pride, seeing how people are coming together and backing each other up. Non-marginalized people are backing up marginalized people, and that’s really nice to see. In general there’s a lot of fear of what’s going to become of the United States and what’s going to become of the world — so I feel frustrated and at the same time hopeful that this is the last big hoorah for scumbags, you know? Like when you go to a fireworks display: This is their grand finale.”\u003c/p>\n\u003cp>Welchez clearly has both a critical mind and a sense of humor — arguably two fundamentally necessary tools for remaining sane in the present moment.\u003c/p>\n\u003cp>“We’ve been joking,” says Welchez, “about the ‘party’ we call our lives — we are going to bring that party on the road and invite everyone to join us.”\u003c/p>\n\u003cp>And who wouldn’t want to join the party? \u003cem>El Futuro\u003c/em> has arrived.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Crocodiles and AJ Davila play with locals Hot Flash Heat Wave and NRVS LVRS on Thursday, Feb. 23, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20170223.html#.WKZ6CmQrK2w\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Nearly thwarted by Trump's travel ban, Puerto Rican-born AJ Dávila talks about bringing his politically charged U.S. tour to San Francisco this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Halloween weekend in Mexico City, and my friend Mauricio Mendia is preparing for his DJ set at the American Legion. The theme for the night is disco.\u003c/p>\n\u003cp>As Mauricio sets up for the evening, he introduces me to a tall, skinny \u003cem>gringo\u003c/em> my age, with a terrible blonde wig, an offensive red tie, and a suit that looks straight from the Donald Trump Collection. With fake blood dripping down his forehead, he’s dressed up as an assassinated Donald Trump, just days before the election. We clink beers, and between the BeeGees and Donna Summer tracks, get to talking about our favorite punk bands.\u003c/p>\n\u003cp>The Trump impersonator turns out to be Brandon Welchez, lead singer of the New Wave-influenced noise pop group the Crocodiles. Welchez grew up in San Diego on a steady diet of punk, hanging with friends like Rafael Reyes from the cholo goth band Prayers. On one of his band’s first tours, Welchez toured with the drummer Palmolive, from early British punk group the Slits, and described her as his much cooler, musical fairy godmother.\u003c/p>\n\u003cfigure id=\"attachment_12780946\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg\" alt=\"Charles Rowell and Brandon Welchez of the band Crocodiles.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Charles Rowell and Brandon Welchez of the band Crocodiles. \u003ccite>(Bon Duke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moments later, Welchez and I walk towards the bar, where I watch AJ Dávila of the infamous Puerto Rican punk band Dávila 666 wrap Welchez up in what can only be described as a cub hug — he’s way too short to be described as a bear. He greets Welchez with a booming “BABY-SITO,” his term of endearment of choice, and kisses him on the cheek.\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\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a few months, the pair will be leaving Mexico City together to start a world tour, kicking off in the States. One of their first stops is San Francisco, where on Thursday, Feb. 23, they’ll play Bottom of the Hill — a perfect place for two recovering punks to bring their brand of partying-mixed-with-politics, and to represent Mexico City well.\u003c/p>\n\u003cp>But these plans were made, of course, before the election — before any of us could have predicted how the election would affect their their tour, or our country. For that moment at the American Legion, Welchez and Dávila stand next to each other, cracking jokes as Mauricio plays Michael Jackson’s “Don’t Stop Till You Get Enough,” and everyone takes it as their cue to hit the dance floor.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The next day, on my way to the record label \u003ca href=\"http://www.discospanoram.com/\" target=\"_blank\" rel=\"noopener\">Discos Panoram\u003c/a> to discuss \u003cem>El Futuro\u003c/em>, Dávila’s upcoming record, I give the LP a full spin: due out in April, it’s an optimistic shoegaze album that fuses ’60s call-and-response vocals, psychedelic horns and distortion, and Fugazi-style guitar riffs with lyrics about heartbreak and an uncertain future. It’s also Dávila’s first solo album, created after he spent nearly a decade in the shock-punk band Dávila 666, then moved onto the post-grunge group AJ Dávila y Terror Amor.\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/Js1P-jKHZpI'\n title='//www.youtube.com/embed/Js1P-jKHZpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On his own, Dávila has refashioned himself; on \u003cem>El Futuro\u003c/em> he is less scrappy punk kid and more Puerto Rican sweetheart with rock ‘n’ roll charm.\u003c/p>\n\u003cp>The office of Discos Panoram feels like the set of a Luis Buñuel surrealist film. There’s a wall made up entirely of opened books, another of solid doors, and then spiral staircases that lead to a rooftop. In the open air, AJ swings his arms open and hugs me like he did Brandon the day before, belting out “BABY-SITA,” and I can’t help but laugh.\u003c/p>\n\u003cp>Flipping through the album’s liner notes, I ask him about one of my favorite songs, “SS Youth.” I can’t tell if I’ve missed something in the Spanish translation — if SS means something far less ominous in Mexico? — or if the grunge-inspired track is actually just dedicated to Sonic Youth. He seig-heils and tells me, “No, it’s about Donald Trump … and what it means to live in a society of likes.”\u003c/p>\n\u003cp>The words of Junot Díaz spring immediately to mind — particularly his writing on the rise of fascism, and his lived experience through Latin American dictatorships. “The axis of likability is how dictatorships survive,” he once said in \u003ca href=\"http://lithub.com/junot-diaz-hilton-als-talk-masculinity-science-fiction-and-writing-as-an-act-of-defiance/\" target=\"_blank\" rel=\"noopener\">an interview with Hilton Als\u003c/a>. “Becoming popular is part of what dictatorships hijack to remain in power.”\u003c/p>\n\u003cfigure id=\"attachment_12780950\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg\" alt=\"AJ Dávila.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dávila doesn’t tiptoe around his intentions with writing “SS Youth.” ”\u003c/p>\n\u003cp>“It’s an allusion to the Nazi youth, and how they did everything that the system told them to do,” he says. “Propaganda controlled everything that they did. And now, we think we’re living in a time of freedom, filled with capitalism and and liberty and justice for all, but no, it’s the same. The youth — instead of inheriting their parents’ values — their new parents are the television and the propaganda that’s all around them. What they see on television or what they hear from a politician, they believe it, and they act accordingly.”\u003c/p>\n\u003cp>In a society of likes, he seems to be saying, it’s entirely predictable that a reality star could become president. Though Dávila is from Puerto Rico, he’s lived in Chicago and toured the U.S. extensively. The states are his second home, when he’s away from Mexico City, where he currently lives. Even as an ex-pat, he says he can see the creeping wave of fascism in the United States.\u003c/p>\n\u003cp>Our conversation seems like an omen of the times to come. \u003cem>El Futuro.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Welchez and Dávila met in Mexico City in 2014, at a time when both of them were newly out of serious relationships and were moving away from their past lives. The two became roommates and “surrogate girlfriends” to each other, both looking for closeness in a city they loved but was not their own.\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/d3crkYDza5w'\n title='//www.youtube.com/embed/d3crkYDza5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The friends began collaborating musically: you can hear Welchez’s guitar and vocals on Dávila’s album, \u003cem>El Futuro\u003c/em>, as well as records that Dávila has produced, including Dani Bander’s post-mariachi record, \u003cem>Malacopa\u003c/em>. Touring together came naturally, and they planned a four-week U.S. sweep through 21 cities; an upcoming South American and European Tour is still in the works.\u003c/p>\n\u003cp>But they couldn’t have anticipated how President Trump’s travel ban would impact those plans.\u003c/p>\n\u003cfigure id=\"attachment_12786115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12786115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg\" alt=\"AJ Davila and Rafael Reyes\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rafael Reyes, from the band Prayers, with AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the last few days, everything has kind of shifted, unfortunately,” Welchez tells me by phone, following news of the ban. It’s only been three months since we last saw each other in Mexico City, but with the nonstop news cycle, it feels like three lifetimes.\u003c/p>\n\u003cp>“We had a band of Mexican musicians and one Venezuelan, and we tried to get work visas but it was super, super expensive, so we thought about having them play here ‘illegally,’” he says of the tour. “But once Trump put that travel ban — that Muslim ban — in effect, we started thinking of how it would affect people in Latin America who had visas, travel visas, and we just got scared. Is it really fair to ask these people to risk their ability to come back [to the U.S.]?”\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/7nqaCqMmaSQ'\n title='//www.youtube.com/embed/7nqaCqMmaSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So the Crocodiles and AJ Dávila were left scrambling to find a new band comprised of entirely U.S. citizens, less than a week before their tour started. According to Dávila’s publicist, the average cost to get a touring visa for bands from Latin America is $6,000. Considering that the Mexican peso is currently valued at 21 pesos to the American dollar, and that the average yearly salary in Mexico City is $11,000 USD, securing a touring visa to the United States is a huge barrier for many bands from Latin America.\u003c/p>\n\u003cp>Between barriers to travel, recent immigration crackdowns, renewed ICE raids and the wall controversy, the next four years are sure to be tumultuous for U.S.-Mexico relations. What does it feel like, I ask Welchez, to be living as an American in Mexico City right now?\u003c/p>\n\u003cp>“Fear, frustration, embarrassment,” he says. “And in a way [I feel] pride, seeing how people are coming together and backing each other up. Non-marginalized people are backing up marginalized people, and that’s really nice to see. In general there’s a lot of fear of what’s going to become of the United States and what’s going to become of the world — so I feel frustrated and at the same time hopeful that this is the last big hoorah for scumbags, you know? Like when you go to a fireworks display: This is their grand finale.”\u003c/p>\n\u003cp>Welchez clearly has both a critical mind and a sense of humor — arguably two fundamentally necessary tools for remaining sane in the present moment.\u003c/p>\n\u003cp>“We’ve been joking,” says Welchez, “about the ‘party’ we call our lives — we are going to bring that party on the road and invite everyone to join us.”\u003c/p>\n\u003cp>And who wouldn’t want to join the party? \u003cem>El Futuro\u003c/em> has arrived.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Crocodiles and AJ Davila play with locals Hot Flash Heat Wave and NRVS LVRS on Thursday, Feb. 23, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20170223.html#.WKZ6CmQrK2w\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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