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"content": "\u003cp>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\u003c/p>\n\u003cp>https://youtu.be/QT2-iobVcdw?t=20s\u003c/p>\n\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\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/QT2-iobVcdw'\n title='//www.youtube.com/embed/QT2-iobVcdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\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>Aging rockers from Jefferson Starship led a protest on the steps of City Hall to send a message to San Francisco officials: We built this city on free rock and roll.\u003c/p>\n\u003cp>Thursday’s protest and a hearing inside City Hall that followed marked the latest twist in a battle with the city to hold a free concert in Golden Gate Park for the 50th anniversary of the Summer of Love.\u003c/p>\n\u003cp>The June 4 show might still go on but it hit another major bureaucratic hurdle.\u003c/p>\n\u003cp>San Francisco’s Recreation and Park Commission ruled after a nearly 3-hour public hearing to uphold the Feb. 7 decision of its permit department to deny a permit for the concert. The department says its denial was issued because the concert promoter had made “numerous misrepresentations” about security and crowd control, leaving officials concerned about public safety.\u003c/p>\n\u003cp>However, the commission told promoters at the hearing that they can resubmit an application to address the department’s concerns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Promoter Boots Hughston said he will “definitely resubmit” the application and still hopes the event can take place.\u003c/p>\n\u003cp>“My advice to Boots,” said his lawyer Ken Wine, “is to take the show to Oakland. Because the heart of San Francisco just got crushed today.”\u003c/p>\n\u003cp>The “Summer of Love 50th Anniversary” concert was to be a focal point of citywide cultural events to mark the 1960s counterculture movement that was centered in San Francisco.\u003c/p>\n\u003cp>Hughston said he’d already lined up about two dozen performers for the event at Golden Gate Park’s Polo Field including the remnants of Jefferson Airplane and its off-shoot Jefferson Starship, Big Brother and the Holding Company which was fronted by Janis Joplin and the Santana Blues Band.\u003c/p>\n\u003cp>“The best thing we ever did was to play for free in the park. How can you celebrate the Summer of Love without that? It’s impossible” said David Freiberg, a vocalist and bassist with Airplane and Starship. “I see no reason why we can’t work this out.”\u003c/p>\n\u003cp>Freiberg was joined on the steps of City Hall by drummer Donny Baldwin and other graying rockers, dressed in all black, and dozens of other self-declared former hippies. Many made passionate pleas for the permit at the public hearing, telling the commissioners this might be the last big Summer of Love celebration for their generation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The worst thing that might happen is a bunch of senior citizens get stoned on pot,” said Trinna Robbins, who described herself as a veteran of the 1960s. “We need this concert. We need it. I know we can all work this out together. We have to.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aging rockers from Jefferson Starship led a protest on the steps of City Hall to send a message to San Francisco officials: We built this city on free rock and roll.\u003c/p>\n\u003cp>Thursday’s protest and a hearing inside City Hall that followed marked the latest twist in a battle with the city to hold a free concert in Golden Gate Park for the 50th anniversary of the Summer of Love.\u003c/p>\n\u003cp>The June 4 show might still go on but it hit another major bureaucratic hurdle.\u003c/p>\n\u003cp>San Francisco’s Recreation and Park Commission ruled after a nearly 3-hour public hearing to uphold the Feb. 7 decision of its permit department to deny a permit for the concert. The department says its denial was issued because the concert promoter had made “numerous misrepresentations” about security and crowd control, leaving officials concerned about public safety.\u003c/p>\n\u003cp>However, the commission told promoters at the hearing that they can resubmit an application to address the department’s concerns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Promoter Boots Hughston said he will “definitely resubmit” the application and still hopes the event can take place.\u003c/p>\n\u003cp>“My advice to Boots,” said his lawyer Ken Wine, “is to take the show to Oakland. Because the heart of San Francisco just got crushed today.”\u003c/p>\n\u003cp>The “Summer of Love 50th Anniversary” concert was to be a focal point of citywide cultural events to mark the 1960s counterculture movement that was centered in San Francisco.\u003c/p>\n\u003cp>Hughston said he’d already lined up about two dozen performers for the event at Golden Gate Park’s Polo Field including the remnants of Jefferson Airplane and its off-shoot Jefferson Starship, Big Brother and the Holding Company which was fronted by Janis Joplin and the Santana Blues Band.\u003c/p>\n\u003cp>“The best thing we ever did was to play for free in the park. How can you celebrate the Summer of Love without that? It’s impossible” said David Freiberg, a vocalist and bassist with Airplane and Starship. “I see no reason why we can’t work this out.”\u003c/p>\n\u003cp>Freiberg was joined on the steps of City Hall by drummer Donny Baldwin and other graying rockers, dressed in all black, and dozens of other self-declared former hippies. Many made passionate pleas for the permit at the public hearing, telling the commissioners this might be the last big Summer of Love celebration for their generation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The worst thing that might happen is a bunch of senior citizens get stoned on pot,” said Trinna Robbins, who described herself as a veteran of the 1960s. “We need this concert. We need it. I know we can all work this out together. We have to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'He Will Not Divide Us,' Deportation Hits Close to Home for Robin DuPont",
"headTitle": "In ‘He Will Not Divide Us,’ Deportation Hits Close to Home for Robin DuPont | KQED",
"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. 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>Robin DuPont, “He Will Not Divide Us”\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303730121″ 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>“Usually it takes me hours, sometimes days, and on occasion months to write a song,” says Robin DuPont, a 20-year-old rapper living in Hayward, of his track — the lyrics of which take Pres. Trump to task for how his proposed policies will affect immigrants and people of color. “[This time] I felt so angry and disappointed … I had so much bottled up about this election and the person the American people voted for that I wrote my verse in less than five minutes.”\u003c/p>\n\u003cp>DuPont is a first-generation American. He was born in Southern California to parents who had immigrated from Mexico, were undocumented, and lived in fear of deportation — a fear that came to fruition in 2012, when DuPont’s father was ordered to leave the U.S. with 30 days notice. The musician was 15.\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>“He lost everything he ever worked for,” says DuPont. His father was granted permission to return to the U.S. and build a legal case to stay in 2015. “Although he was gone for under four years, they were very hard years,” he says. “I had to do a lot of growing up very quickly. That’s why the recent spike in ICE raids and deportations is heartbreaking because I know the feeling. It’s a terrible one. ”\u003c/p>\n\u003cp>DuPont wrote “He Will Not Divide Us” on Inauguration Day, after scrolling through Twitter and reading about \u003ca href=\"http://www.spin.com/2017/02/shia-labeouf-installation-divisive/\" target=\"_blank\" rel=\"noopener\">actor Shia LaBoeuf’s New York livestream/protest\u003c/a> with the same name. While the rapper says he finds our current political situation “terrifying,” he’s also taking the opportunity to consider his own role, and that of artists in general, when it comes to fighting back.\u003c/p>\n\u003cp>“I feel like the influence musicians and artists have is often incredibly underestimated,” he says. “Within these next four years, I plan to release a lot more music centered around the social injustices we’re facing and my own personal experiences and opinions.”\u003c/p>\n\u003cp>“I can’t cover everything he’s done or plans to do, but I can definitely cover what means most to me: every one of Trump’s plans regarding immigrants. I don’t want my or any family to live in fear of potentially being deported or losing everything they’ve worked so hard for.”\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>\u003cem>Robin DuPont’s debut EP ‘Emancipation From Fear’ comes out on March 24. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. 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>Robin DuPont, “He Will Not Divide Us”\u003c/h3>\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/303730121″&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/303730121″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Usually it takes me hours, sometimes days, and on occasion months to write a song,” says Robin DuPont, a 20-year-old rapper living in Hayward, of his track — the lyrics of which take Pres. Trump to task for how his proposed policies will affect immigrants and people of color. “[This time] I felt so angry and disappointed … I had so much bottled up about this election and the person the American people voted for that I wrote my verse in less than five minutes.”\u003c/p>\n\u003cp>DuPont is a first-generation American. He was born in Southern California to parents who had immigrated from Mexico, were undocumented, and lived in fear of deportation — a fear that came to fruition in 2012, when DuPont’s father was ordered to leave the U.S. with 30 days notice. The musician was 15.\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>“He lost everything he ever worked for,” says DuPont. His father was granted permission to return to the U.S. and build a legal case to stay in 2015. “Although he was gone for under four years, they were very hard years,” he says. “I had to do a lot of growing up very quickly. That’s why the recent spike in ICE raids and deportations is heartbreaking because I know the feeling. It’s a terrible one. ”\u003c/p>\n\u003cp>DuPont wrote “He Will Not Divide Us” on Inauguration Day, after scrolling through Twitter and reading about \u003ca href=\"http://www.spin.com/2017/02/shia-labeouf-installation-divisive/\" target=\"_blank\" rel=\"noopener\">actor Shia LaBoeuf’s New York livestream/protest\u003c/a> with the same name. While the rapper says he finds our current political situation “terrifying,” he’s also taking the opportunity to consider his own role, and that of artists in general, when it comes to fighting back.\u003c/p>\n\u003cp>“I feel like the influence musicians and artists have is often incredibly underestimated,” he says. “Within these next four years, I plan to release a lot more music centered around the social injustices we’re facing and my own personal experiences and opinions.”\u003c/p>\n\u003cp>“I can’t cover everything he’s done or plans to do, but I can definitely cover what means most to me: every one of Trump’s plans regarding immigrants. I don’t want my or any family to live in fear of potentially being deported or losing everything they’ve worked so hard for.”\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>\u003cem>Robin DuPont’s debut EP ‘Emancipation From Fear’ comes out on March 24. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Frankenstein Ballet, Noise Pop and Shack-Shakers",
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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>[soundcloud url=”https://api.soundcloud.com/tracks/308119957″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ta8GWrxUX34\u003c/p>\n\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ZJJsvlrDqg\u003c/p>\n\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrxM-jPOFQo\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bn15IvVrprw\u003c/p>\n\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYLHKpAl1vs\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": "Annie Baker's 'John' at A.C.T., Rachel Efron and Ira Marlowe's 'Gods & Monsters' in Berkeley, 'Frankenstein' at SF Ballet and more round out this week's recommendations.",
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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>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/308119957″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/308119957″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tough choices this week for the radio show. We barely had room for the \u003ca href=\"http://bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">12th Annual Bay Area Flamenco Festival\u003c/a>, run by Nina Menendez. She always puts on great shows, like the Feb. 19 concert featuring José Maya with his newest work \u003cem>Latente\u003c/em>, at the Herbst Theater. The Festival continues through Feb. 25 with shows in San Francisco and Oakland. Now here’s the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ta8GWrxUX34'\n title='//www.youtube.com/embed/ta8GWrxUX34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17 & 18:\u003c/strong> The Legendary Shack Shakers is the brainchild of J.D. Wilkes out of Paducah, Kentucky. He’s a harmonica player who sometimes strips off his shirt on stage — a somewhat punk move, but the music is deeply rooted in country and jump blues. We would call it rockabilly, but Wilkes hates that term. Doesn’t matter. It’s great music, and Wilkes is a renaissance man, with a novel out soon about the invasive plant \u003ca href=\"https://en.wikipedia.org/wiki/Kudzu\" target=\"_blank\" rel=\"noopener\">kudzu,\u003c/a> called \u003cem>The Vine That Ate the South\u003c/em>. Catch them at \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose (\u003ca href=\"http://www.ticketfly.com/event/1310927-legendary-shack-shakers-san-jose/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>), or Brick and Mortar in San Francisco (\u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7013915&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12776487\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12776487\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg\" alt=\"Georgia Engel stars in Annie Baker's Pulitzer Prize winning play 'John', opening Feb. 22 at the Strand Theater \" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Georgia-Engel-stars-in-Annie-Bakers-Pulitzer-Prize-winning-play-John-opening-Feb.-22-at-the-Strand-Theater-520x293.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Engel stars in Annie Baker’s Pulitzer Prize winning play ‘John,’ opening Feb. 22 at the Strand Theater. \u003ccite>(Photo: Michael Murphy/Signature Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 22–April 23\u003c/strong>: \u003ca href=\"http://newdramatists.org/annie-baker\" target=\"_blank\" rel=\"noopener\">Annie Baker\u003c/a> writes haunting plays in which sometimes, not much is happening. Yet she holds an audience with her deep insights into the meaning of relationships. \u003cem>John\u003c/em> is her enthusiastically reviewed, Obie Award-winning play from 2015 about a disintegrating marriage. It’s set at a bed and breakfast in Gettysburg, and explores the relationship that develops between the wife and the landlady at the B&B. It features the great actress \u003ca href=\"https://www.nytimes.com/2015/08/29/theater/georgia-engel-a-mary-tyler-moore-show-sidekick-takes-a-star-turn.html\" target=\"_blank\" rel=\"noopener\">Georgia Engel\u003c/a> (of \u003cem>The Mary Tyler Moore Show\u003c/em> and \u003cem>Everybody Loves Raymond\u003c/em>) as the landlady. Back in 2012, we had a mini-fest of Baker plays, with \u003cem>Aliens\u003c/em> at SF Playhouse, \u003cem>Body Awareness\u003c/em> at the Aurora, and \u003cem>Circle Mirror Transformation \u003c/em>at Marin Theatre Company. We’re so glad Baker is back in this American Conservatory Theater production at the Strand. \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/john.html\" 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>\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/5ZJJsvlrDqg'\n title='//www.youtube.com/embed/5ZJJsvlrDqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17: \u003c/strong>Bay Area singer-songwriter \u003ca href=\"http://rachelefron.com/\" target=\"_blank\" rel=\"noopener\">Rachel Efron \u003c/a>has a small, high voice that, according to a review by my co-host David Wiegand, “hooks you by the heart.” This week, she teams up with Ira Marlowe, another under-appreciated Bay Area singer-songwriter, for a show they’re calling \u003cem>Gods and Monsters\u003c/em>. It’s a musical exploration which promises to be less horror movie, and more about the way “we make gods and monsters of each other.” Sounds like modern politics. Details for their show at the Monkey House in Berkeley are \u003ca href=\"https://www.evensi.us/gods-amp-monsters-two-songwriters-plumb-the-dark-amp-the/199473780\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And it’s a \u003cstrong>cheap thrill\u003c/strong>, with tickets as low as $10.\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/vrxM-jPOFQo'\n title='//www.youtube.com/embed/vrxM-jPOFQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26:\u003c/strong> Mary Shelley’s novel \u003cem>Frankenstein, or the Modern Prometheus\u003c/em> is almost 200 years old, but it feels as fresh as ever; a cautionary tale on the ethics of bioengineering and a heartbreaking story of a creature searching for its identity. Choreographer and Royal Ballet artist-in-residence Liam Scarlett has made a fresh adaptation of the story. It opened last year in London, and now Scarlett is overseeing a new production for the San Francisco Ballet. I asked Scarlett how he gets this awkward creature, assembled from ill-fitting parts, to dance. “I told all the (Frankenstein) dancers to imagine themselves as a newborn baby in an adult’s body,” Scarlett told me backstage during a break from rehearsal. “I think one of the perfect examples is to watch a baby deer, where they haven’t got control of their limbs and yet everything is there. We had to teach him how to walk, before he could run, before he could dance.” Details for this San Francisco Ballet co-commission at the San Francisco Opera House are \u003ca href=\"https://www.sfballet.org/season/repertory/program-03?gclid=CJONwPLMldICFYGHfgod3_wOZQ\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bn15IvVrprw'\n title='//www.youtube.com/embed/bn15IvVrprw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 17–26\u003c/strong>: The Noise Pop Festival, San Francisco’s indie music and arts fest, is 25 years old and hitting its prime. What started as six bands for five bucks at on a single night has grown into a music and film festival with more than 150 acts at venues in San Francisco and Oakland. There’s still an emphasis on local bands like Rogue Wave, Hot Flash Heat Wave and Ty Segall, but you can also catch Long Beach hip-hop star Vince Staples, the Joy Formidable, MSTRKRFT, plus Michelle Zauner’s Japanese Breakfast. Plus movies — including \u003cem>Hired Gun\u003c/em>, about the anonymous virtuosos who join bands for recording sessions and concerts, and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">The Resurrection of Victor Jara\u003c/a>\u003c/em>, about the beloved radical Chilean folk singer. Read recommendations by KQED Arts Music Editor Emma Silvers of \u003ca href=\"https://ww2.kqed.org/arts/2017/02/16/five-great-noise-pop-shows-that-arent-sold-out/\" target=\"_blank\" rel=\"noopener\">shows that aren’t yet sold out here\u003c/a>, and see details for all Noise Pop shows \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kYLHKpAl1vs'\n title='//www.youtube.com/embed/kYLHKpAl1vs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>If you’re a fiend for giant festivals — i.e, you didn’t bat an eye at this year’s Coachella prices, you live for the time-management Rubik’s cube that is trying to see as many bands as possible on different stages with conflicting set times in a crowd of 10,000 inebriated people — well, more power to you.\u003c/p>\n\u003cp>If you’re not? Come sit with me.\u003c/p>\n\u003cp>It’s no slight whatsoever when I say my favorite thing about \u003ca href=\"http://www.noisepop.com/2017/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> — the annual Bay Area music and film festival that runs from Feb. 17 through Feb. 27 this year — is its scant resemblance to a traditional festival. Unlike an overblown weekend in the desert, Noise Pop is a 10-day fest that takes place at independent venues throughout San Francisco and the East Bay, at venues as small as Bottom of the Hill and as large as the Fox Theater.\u003c/p>\n\u003cp>This structure has benefits that trickle down. Those venues (which need your support more than ever) make money; people use public transportation (hopefully), and patronize local bars and restaurants before and after shows. Remember, a healthy nightlife scene is one attribute of a healthy city.\u003c/p>\n\u003cp>Now in its 25th year, Noise Pop has also expanded its range considerably: what began in a pretty cozy indie-rock and -pop zone now boasts hip-hop, folk, metal, electronic music, and more (not to mention the \u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">film offerings\u003c/a>, which are worth perusing on their own). Only problem is, other people have noticed it’s a pretty darn good festival too — which is why many shows have already sold out. Never you mind: Here’s a handful of great shows to which you can still buy tickets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 22: \u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\">Diet Cig, Plush, Joyride! and Shutups\u003c/a> at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nThis stacked indie-pop lineup is sure to be full of cool kids — but if you think you’re too cool to dance, you might wanna stay home. Diet Cig (whose first full-length is due in April) is one of those duos that has the sweet, twee energy of a band three times as a big, and their buzz has only grown steadily since signing to Oakland/Portland label Father/Daughter Records last year. Be sure to get there in time for San Francisco’s own fuzz-pop royalty (and F/D labelmate) PLUSH’s set as well.\u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\"> 8pm, $13–$15; details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iVUcgmnm2GQ\u003c/p>\n\u003cp>\u003cstrong>Feb 23:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">Japanese Breakfast, Miya Folick, Dante Elephante, Flying Circles\u003c/a> at the Rickshaw Stop\u003c/strong>\u003cbr>\nAnother thing Noise Pop does better than most giant music festivals — that pesky, almost always imbalanced gender breakdown. This is one of several shows headlined by solo women: Japanese Breakfast is the fuzzy, personal, lo-fi side project of Little Big League’s Michelle Zauner; grungey singer-songwriter Miya Folick is fresh off a tour with Sleigh Bells, with a new single called “God Is a Woman.” Please don’t hit on either of them at the merch table after the show.\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">\u003cem> 8:30pm, $15; details here. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\" target=\"_blank\" rel=\"noopener\">Hanni El Khatib, The Buttertones, The Molochs, Innovative Leisure DJs\u003c/a> at The Chapel\u003c/strong>\u003cbr>\nSan Francisco-born multi-instrumentalist Hanni El Khatib is the product of a thoroughly mixed, incredibly American melange: his father is Palestinian, his mother is Filipino, and as a young Californian skate punk El Khatib favored British Invasion pioneers like the Zombies — all of which makes for a unique brand of punk-tinged blues. His latest, \u003cem>Savage Times\u003c/em>, is out this week, and this release party of sorts will have the support of his Innovative Leisure labelmates from start to finish. \u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\">\u003cem>8pm, $18–$20; details here\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fYbJPcSbqe0\u003c/p>\n\u003cp>\u003cstrong> Feb. 25: \u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">Adia Victoria, Madi Sipes & the Painted Blue, Ahsa-Ti Nu \u003c/a>at Bottom of the Hill\u003c/strong>\u003cbr>\nIf Adia Victoria hadn’t already won me over with her debut album, last year’s \u003cem>Beyond the Bloodhounds, \u003c/em>or her Tiny Desk Concert, \u003ca href=\"https://www.instagram.com/p/BQfr3IbD1Dn/?taken-by=adiavictoria&hl=en\" target=\"_blank\" rel=\"noopener\">this photo she posted on Instagram on Valentine’s Day\u003c/a> would’ve sealed the deal. Fusing Delta blues with Afropunk, steered by her powerful voice and her electric guitar, the Nashville-based musician is a formidable presence onstage as well. Locals Madi Sipes & the Painted Blue provide (appropriately) blue-eyed soul that should get your blood pumping as well. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">8:30pm, $13 – $15; details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LaCjgtH4zac\u003c/p>\n\u003cp>\u003cstrong>Feb. 26: \u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">Ty Segall, Shannon & the Clams, White Fence, Axis: Sova\u003c/a> at the Fox Theater\u003c/strong>\u003cbr>\nYou know what they say: Never miss a chance to see Ty Segall, always the most prolific rocker in class, tearing ass around a stage with a guitar. Okay, so maybe that’s not a common saying, but if you came of age during the psych- and garage-rock revival that took place in San Francisco during the mid- to late-aughts, you know exactly the kind of eardrum workout this show will be — especially when you add in local doo-wop/punk four-piece Shannon & the Clams, \u003cem>and \u003c/em>Ty Segall’s frequent collaborator Tim Presley of White Fence. Come for the music, stay for the catharsis. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">8pm, $25; details here\u003c/a>. \u003c/em>\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>If you’re a fiend for giant festivals — i.e, you didn’t bat an eye at this year’s Coachella prices, you live for the time-management Rubik’s cube that is trying to see as many bands as possible on different stages with conflicting set times in a crowd of 10,000 inebriated people — well, more power to you.\u003c/p>\n\u003cp>If you’re not? Come sit with me.\u003c/p>\n\u003cp>It’s no slight whatsoever when I say my favorite thing about \u003ca href=\"http://www.noisepop.com/2017/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> — the annual Bay Area music and film festival that runs from Feb. 17 through Feb. 27 this year — is its scant resemblance to a traditional festival. Unlike an overblown weekend in the desert, Noise Pop is a 10-day fest that takes place at independent venues throughout San Francisco and the East Bay, at venues as small as Bottom of the Hill and as large as the Fox Theater.\u003c/p>\n\u003cp>This structure has benefits that trickle down. Those venues (which need your support more than ever) make money; people use public transportation (hopefully), and patronize local bars and restaurants before and after shows. Remember, a healthy nightlife scene is one attribute of a healthy city.\u003c/p>\n\u003cp>Now in its 25th year, Noise Pop has also expanded its range considerably: what began in a pretty cozy indie-rock and -pop zone now boasts hip-hop, folk, metal, electronic music, and more (not to mention the \u003ca href=\"https://ww2.kqed.org/arts/2017/02/14/over-40-years-later-musician-activist-victor-jara-remains-relevant-as-ever/\" target=\"_blank\" rel=\"noopener\">film offerings\u003c/a>, which are worth perusing on their own). Only problem is, other people have noticed it’s a pretty darn good festival too — which is why many shows have already sold out. Never you mind: Here’s a handful of great shows to which you can still buy tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 22: \u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\">Diet Cig, Plush, Joyride! and Shutups\u003c/a> at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nThis stacked indie-pop lineup is sure to be full of cool kids — but if you think you’re too cool to dance, you might wanna stay home. Diet Cig (whose first full-length is due in April) is one of those duos that has the sweet, twee energy of a band three times as a big, and their buzz has only grown steadily since signing to Oakland/Portland label Father/Daughter Records last year. Be sure to get there in time for San Francisco’s own fuzz-pop royalty (and F/D labelmate) PLUSH’s set as well.\u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/22/diet-cig\" target=\"_blank\" rel=\"noopener\"> 8pm, $13–$15; details here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iVUcgmnm2GQ'\n title='//www.youtube.com/embed/iVUcgmnm2GQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb 23:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">Japanese Breakfast, Miya Folick, Dante Elephante, Flying Circles\u003c/a> at the Rickshaw Stop\u003c/strong>\u003cbr>\nAnother thing Noise Pop does better than most giant music festivals — that pesky, almost always imbalanced gender breakdown. This is one of several shows headlined by solo women: Japanese Breakfast is the fuzzy, personal, lo-fi side project of Little Big League’s Michelle Zauner; grungey singer-songwriter Miya Folick is fresh off a tour with Sleigh Bells, with a new single called “God Is a Woman.” Please don’t hit on either of them at the merch table after the show.\u003ca href=\"http://music.noisepop.com/events/2017/2/23/japanese-breakfast-miya-folick-dante-elephante\" target=\"_blank\" rel=\"noopener\">\u003cem> 8:30pm, $15; details here. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003cstrong>\u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\" target=\"_blank\" rel=\"noopener\">Hanni El Khatib, The Buttertones, The Molochs, Innovative Leisure DJs\u003c/a> at The Chapel\u003c/strong>\u003cbr>\nSan Francisco-born multi-instrumentalist Hanni El Khatib is the product of a thoroughly mixed, incredibly American melange: his father is Palestinian, his mother is Filipino, and as a young Californian skate punk El Khatib favored British Invasion pioneers like the Zombies — all of which makes for a unique brand of punk-tinged blues. His latest, \u003cem>Savage Times\u003c/em>, is out this week, and this release party of sorts will have the support of his Innovative Leisure labelmates from start to finish. \u003ca href=\"http://music.noisepop.com/events/2017/2/24/hanni-el-khatib\">\u003cem>8pm, $18–$20; details here\u003c/em>\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/fYbJPcSbqe0'\n title='//www.youtube.com/embed/fYbJPcSbqe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong> Feb. 25: \u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">Adia Victoria, Madi Sipes & the Painted Blue, Ahsa-Ti Nu \u003c/a>at Bottom of the Hill\u003c/strong>\u003cbr>\nIf Adia Victoria hadn’t already won me over with her debut album, last year’s \u003cem>Beyond the Bloodhounds, \u003c/em>or her Tiny Desk Concert, \u003ca href=\"https://www.instagram.com/p/BQfr3IbD1Dn/?taken-by=adiavictoria&hl=en\" target=\"_blank\" rel=\"noopener\">this photo she posted on Instagram on Valentine’s Day\u003c/a> would’ve sealed the deal. Fusing Delta blues with Afropunk, steered by her powerful voice and her electric guitar, the Nashville-based musician is a formidable presence onstage as well. Locals Madi Sipes & the Painted Blue provide (appropriately) blue-eyed soul that should get your blood pumping as well. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/25/adia-victoria\" target=\"_blank\" rel=\"noopener\">8:30pm, $13 – $15; details here\u003c/a>. \u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LaCjgtH4zac'\n title='//www.youtube.com/embed/LaCjgtH4zac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 26: \u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">Ty Segall, Shannon & the Clams, White Fence, Axis: Sova\u003c/a> at the Fox Theater\u003c/strong>\u003cbr>\nYou know what they say: Never miss a chance to see Ty Segall, always the most prolific rocker in class, tearing ass around a stage with a guitar. Okay, so maybe that’s not a common saying, but if you came of age during the psych- and garage-rock revival that took place in San Francisco during the mid- to late-aughts, you know exactly the kind of eardrum workout this show will be — especially when you add in local doo-wop/punk four-piece Shannon & the Clams, \u003cem>and \u003c/em>Ty Segall’s frequent collaborator Tim Presley of White Fence. Come for the music, stay for the catharsis. \u003cem>\u003ca href=\"http://music.noisepop.com/events/2017/2/27/ty-segall\" target=\"_blank\" rel=\"noopener\">8pm, $25; details here\u003c/a>. \u003c/em>\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>The longtime producer of the Grammy Awards is offering apologies to Metallica and Shirley Caesar after a technical glitch and a misprint marred their inclusion on the show.\u003c/p>\n\u003cp>The mic for Metallica’s James Hetfield wasn’t initially working when the band took the stage to perform with Lady Gaga, and Caesar, a lifetime achievement award honoree, was misidentified during the televised ceremony when a photo of another gospel star, CeCe Winans, was shown instead of her during a montage clip.\u003c/p>\n\u003cp>“These kinds of things are horrible when they happen,” Ken Ehrlich said in an interview with The Associated Press on Wednesday. “That’s one of the risks of live television.”\u003c/p>\n\u003cp>The Metallica glitch, for which the band has blamed a dead microphone, resulted in Hetfield making a decision to improvise and use Lady Gaga’s mic.\u003c/p>\n\u003cp>Ehrlich has heard a different story from his crew about the problem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My guys say that the mic cable was connected,” he said. “My guys’ theory was that … one of the extras (on stage) accidentally kicked out the cable that went to the mic.”\u003c/p>\n\u003cp>Still, the end result was Hetfield’s singing couldn’t be heard for the first part of the performance.\u003c/p>\n\u003cp>“Obviously, we apologize to the band,” Ehrlich said, calling the mishap “awful.”\u003c/p>\n\u003cp>He added that he’s worked with Metallica for years, so to see that happen was personally upsetting to him: “You hurt.”\u003c/p>\n\u003cp>In the case of Caesar, the gospel legend, Ehrlich had a better understanding of what happened. When preparing for a clip to run of her for the show, footage of a classic Caesar, Winans and Whitney Houston performance was used, and Winans was mistakenly shown.\u003c/p>\n\u003cp>Ehrlich said he usually checks such footage but didn’t get a chance to this year, since he was busy with the show and the Recording Academy’s tribute to the Bee Gees, which taped in Los Angeles on Tuesday and will air at a later date.\u003c/p>\n\u003cp>“We obviously want to apologize to Shirley Caesar,” he said. “It’s unfortunate that happened.”\u003c/p>\n\u003cp>Caeser released a statement Wednesday thanking Ehrlich for the apology and added, “these things happen sometimes.”\u003c/p>\n\u003cp>Ehrlich was also frustrated that the mistakes have overshadowed some of the great performances that occurred on the show, including Beyonce, Bruno Mars and Adele, who had her own hiccup when she restarted her tribute to George Michael.\u003c/p>\n\u003cp>“When you do a three-and-a-half hour live show, it’s fraught with danger,” he said. “It was an adventurous show in many ways.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ehrlich has produced the Grammys for years and has also produced other events, including the Emmy Awards.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My guys say that the mic cable was connected,” he said. “My guys’ theory was that … one of the extras (on stage) accidentally kicked out the cable that went to the mic.”\u003c/p>\n\u003cp>Still, the end result was Hetfield’s singing couldn’t be heard for the first part of the performance.\u003c/p>\n\u003cp>“Obviously, we apologize to the band,” Ehrlich said, calling the mishap “awful.”\u003c/p>\n\u003cp>He added that he’s worked with Metallica for years, so to see that happen was personally upsetting to him: “You hurt.”\u003c/p>\n\u003cp>In the case of Caesar, the gospel legend, Ehrlich had a better understanding of what happened. When preparing for a clip to run of her for the show, footage of a classic Caesar, Winans and Whitney Houston performance was used, and Winans was mistakenly shown.\u003c/p>\n\u003cp>Ehrlich said he usually checks such footage but didn’t get a chance to this year, since he was busy with the show and the Recording Academy’s tribute to the Bee Gees, which taped in Los Angeles on Tuesday and will air at a later date.\u003c/p>\n\u003cp>“We obviously want to apologize to Shirley Caesar,” he said. “It’s unfortunate that happened.”\u003c/p>\n\u003cp>Caeser released a statement Wednesday thanking Ehrlich for the apology and added, “these things happen sometimes.”\u003c/p>\n\u003cp>Ehrlich was also frustrated that the mistakes have overshadowed some of the great performances that occurred on the show, including Beyonce, Bruno Mars and Adele, who had her own hiccup when she restarted her tribute to George Michael.\u003c/p>\n\u003cp>“When you do a three-and-a-half hour live show, it’s fraught with danger,” he said. “It was an adventurous show in many ways.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ehrlich has produced the Grammys for years and has also produced other events, including the Emmy Awards.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The seven-piece jazz ensemble The Cookers is mostly made up of 60s-era jazz heavies who have played with everyone from Herbie Hancock to Max Roach. Trumpeter David Weiss, who has played jazz and rock for four decades, founded the group to showcase experienced but under-recognized jazz players. Saxophonist Billy Harper \u003ca href=\"https://ww2.kqed.org/forum/2017/02/15/jazz-group-the-cookers-plays-san-jose-festival/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/forum/2017/02/15/jazz-group-the-cookers-plays-san-jose-festival/\" target=\"_blank\" title=\"Jazz Group The Cookers Plays San Jose Festival\" rel=\"noopener\">Forum Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Following the introduction of \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\" target=\"_blank\" rel=\"noopener\">two bills into the state Legislature\u003c/a> that would legally prohibit transgender Texans from using bathrooms that align with their gender identities, 142 artists — including Ewan McGregor, Amy Poehler, Lady Gaga, Janelle Monae, Talib Kweli, Wilco and Whoopi Goldberg — have co-signed \u003ca href=\"https://www.txtogether.org/\">a letter beseeching\u003c/a> the state senators and representatives to prevent the bills’ passage.\u003c/p>\n\u003cp>“Transgender and gender non-conforming young people are already subjected to bullying and harassment,” the letter reads. “Can you imagine the message these bills send to children — the message of ‘that child is unwelcome, that child is dangerous?’ ”\u003c/p>\n\u003cp>In \u003ca href=\"http://www.billboard.com/articles/news/politics/7693257/jack-antonoff-texas-anti-lgbtq-bills-interview\">an interview\u003c/a> with \u003cem>Billboard,\u003c/em> producer and musician Jack Antonoff, who helped draft the letter, said that he wants the state “to know that me and all of my friends — all of these wonderful artists and actors and writers and designers — are watching Texas and are not OK with this happening.”\u003c/p>\n\u003cp>Texas Lt. Gov. Dan Patrick has made the legislation a priority. In a note on the initiatives, he wrote that: “Legislation to protect women’s privacy and business is essential to assure that sexual predators … will not be able to freely enter women’s restrooms, locker rooms or showers. … ”\u003c/p>\n\u003cp>Texas House Speaker Joe Straus voiced concern over the bill’s economic impact on the state in \u003ca href=\"http://www.texasmonthly.com/burka-blog/straus-says-bathroom-bill-might-harm-economy/\">an interview with Texas Monthly\u003c/a> in mid-January, saying the state “should be very careful about doing something that would make Texas less competitive for investments, jobs, and the highly skilled workforce needed to compete.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similar legislation in North Carolina has cost that state $600 million in its first six months, according to an estimate \u003ca href=\"http://www.forbes.com/sites/corinnejurney/2016/11/03/north-carolinas-bathroom-bill-flushes-away-750-million-in-lost-business/#4474a2f8405c\">by Forbes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"http://www.keeptxopen.org/wp-content/uploads/2016/12/KTOB-Economic-Study.pdf\">study\u003c/a> released in early December 2016 by the Texas Business Association claimed the legislation, as well proposed limitations on nondiscrimination by businesses based on religious objections, if passed, could subtract between $964 million and $8.5 billion from the state’s gross domestic product and up to 185,000 jobs, as well as “alienate large, globally recognized businesses” including Apple, Google and the NFL. \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=Lady+Gaga%2C+Jack+Antonoff+Among+142+Artists+Opposing+Texas+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following the introduction of \u003ca href=\"https://apps.texastribune.org/texas-bathroom-bill-annotated/\" target=\"_blank\" rel=\"noopener\">two bills into the state Legislature\u003c/a> that would legally prohibit transgender Texans from using bathrooms that align with their gender identities, 142 artists — including Ewan McGregor, Amy Poehler, Lady Gaga, Janelle Monae, Talib Kweli, Wilco and Whoopi Goldberg — have co-signed \u003ca href=\"https://www.txtogether.org/\">a letter beseeching\u003c/a> the state senators and representatives to prevent the bills’ passage.\u003c/p>\n\u003cp>“Transgender and gender non-conforming young people are already subjected to bullying and harassment,” the letter reads. “Can you imagine the message these bills send to children — the message of ‘that child is unwelcome, that child is dangerous?’ ”\u003c/p>\n\u003cp>In \u003ca href=\"http://www.billboard.com/articles/news/politics/7693257/jack-antonoff-texas-anti-lgbtq-bills-interview\">an interview\u003c/a> with \u003cem>Billboard,\u003c/em> producer and musician Jack Antonoff, who helped draft the letter, said that he wants the state “to know that me and all of my friends — all of these wonderful artists and actors and writers and designers — are watching Texas and are not OK with this happening.”\u003c/p>\n\u003cp>Texas Lt. Gov. Dan Patrick has made the legislation a priority. In a note on the initiatives, he wrote that: “Legislation to protect women’s privacy and business is essential to assure that sexual predators … will not be able to freely enter women’s restrooms, locker rooms or showers. … ”\u003c/p>\n\u003cp>Texas House Speaker Joe Straus voiced concern over the bill’s economic impact on the state in \u003ca href=\"http://www.texasmonthly.com/burka-blog/straus-says-bathroom-bill-might-harm-economy/\">an interview with Texas Monthly\u003c/a> in mid-January, saying the state “should be very careful about doing something that would make Texas less competitive for investments, jobs, and the highly skilled workforce needed to compete.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similar legislation in North Carolina has cost that state $600 million in its first six months, according to an estimate \u003ca href=\"http://www.forbes.com/sites/corinnejurney/2016/11/03/north-carolinas-bathroom-bill-flushes-away-750-million-in-lost-business/#4474a2f8405c\">by Forbes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"http://www.keeptxopen.org/wp-content/uploads/2016/12/KTOB-Economic-Study.pdf\">study\u003c/a> released in early December 2016 by the Texas Business Association claimed the legislation, as well proposed limitations on nondiscrimination by businesses based on religious objections, if passed, could subtract between $964 million and $8.5 billion from the state’s gross domestic product and up to 185,000 jobs, as well as “alienate large, globally recognized businesses” including Apple, Google and the NFL. \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=Lady+Gaga%2C+Jack+Antonoff+Among+142+Artists+Opposing+Texas+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With his pioneering Pacific Rim vision, gentle but insistently maverick sensibility, closet-refusing openness, and abiding generosity, \u003ca href=\"https://en.wikipedia.org/wiki/Lou_Harrison\">Lou Harrison\u003c/a> was the quintessential California composer. In celebrating his centennial, the invaluable Bay Area new music organization \u003ca href=\"http://www.otherminds.org\">OtherMinds\u003c/a> presents several programs devoted his lustrous, path-breaking body of work with “\u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Just 100:\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Homage to Lou\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Harrison\u003c/a>.”\u003c/p>\n\u003cp>The tribute kicks off Saturday, Feb. 18, at Mission Dolores, where Dennis Russell Davies conducts Harrison’s Suite for Violin, Piano & Small Orchestra and the gloriously clanging Canticle No. 3. Written for a menagerie of metallic found objects and traditional Chinese instruments, Canticle No. 3 came out of Harrison’s sojourns through San Francisco’s Chinatown in the late 1930s when he was on faculty at Mills College. Davies takes over the Steinway to play Harrison’s “Grand Duo” (with violinist Yumi Hwang-Williams) and the obscure Sonata No. 3 for Piano, from 1938.\u003c/p>\n\u003cp>It’s impossible to take Harrison’s measure in a few concerts, which is why OM has created a \u003ca href=\"http://otherminds.org/lou100/\">website\u003c/a> that lists international events related to his 100th birthday (including the Mill Valley Philharmonic performing “Seven Pastorals” on March 11 and 12, and San Francisco Contemporary Music Players “\u003ca href=\"http://sfcmp.org/fri-april-21-22-2017-lou-harrison-a-centenary-celebration/\">Centenary Celebration\u003c/a>” April 21-22 (The San Francisco Symphony’s SoundBox series already \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">dedicated a weekend\u003c/a> to Harrison in December)). As a poet, dancer, calligrapher, ardent Esperanto advocate, committed pacifist, trenchant music critic, and pioneering gay rights activist, the house of Harrison contained mansions. And until his death in 2003 at the age of 85, the long-time Aptos resident supported and nurtured successive generations of California composers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=5&v=_jWBcc97EAI\u003c/p>\n\u003cp>Pulitzer Prize-winning Berkeley composer John Adams, the subject of numerous events celebrating his 70th birthday this year, recalls driving down to Santa Cruz in 1972 in his Karmann Ghia to borrow Harrison’s gamelan. He called Harrison out of the blue, “and he didn’t know me from Adam,” recalls Adams, who dedicated his piece “A New Day” to Harrison, and has often conducted Harrison’s music with major orchestras.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">OM celebration continues\u003c/a> May 20 at Mission Dolores with \u003cem>Lou Harrison Gamelan Masterpieces\u003c/em>, a program conducted by Nicole Paiement, and brimming with Harrison treasures such as 1974’s Suite for Violin & American Gamelan performed by violinist Shalini Vijayan and the William Winant Percussion Group, and 1972’s “La Koro Sutro” featuring the Mission Dolores Choir, Resound, organist Jerome Lenk, harpist Meredith Clark, and the William Winant Percussion Group.\u003c/p>\n\u003cp>“He was always a very generous soul,” says Adams. “Lou was really the only certifiable West Coast personality as a composer when I was coming up, but even back then, in the ’70s, he didn’t have a big reputation outside the state.\u003c/p>\n\u003cp>“I think people thought he was a little odd, writing for gamelan and welcoming all kinds of Asian influences. [But] after minimalists came around, Lou’s music became quite relevant.”\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>Other Minds’ programming for Lou Harrison’s centennial starts Saturday, Feb. 18, at Mission Dolores in San Francisco; \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">tickets ($12 – $20) here\u003c/a>. The celebration includes performances around the Bay Area through May. For tickets and more info, visit \u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\">The Lou Harrison Centennial Website\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his pioneering Pacific Rim vision, gentle but insistently maverick sensibility, closet-refusing openness, and abiding generosity, \u003ca href=\"https://en.wikipedia.org/wiki/Lou_Harrison\">Lou Harrison\u003c/a> was the quintessential California composer. In celebrating his centennial, the invaluable Bay Area new music organization \u003ca href=\"http://www.otherminds.org\">OtherMinds\u003c/a> presents several programs devoted his lustrous, path-breaking body of work with “\u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Just 100:\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Homage to Lou\u003c/a> \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">Harrison\u003c/a>.”\u003c/p>\n\u003cp>The tribute kicks off Saturday, Feb. 18, at Mission Dolores, where Dennis Russell Davies conducts Harrison’s Suite for Violin, Piano & Small Orchestra and the gloriously clanging Canticle No. 3. Written for a menagerie of metallic found objects and traditional Chinese instruments, Canticle No. 3 came out of Harrison’s sojourns through San Francisco’s Chinatown in the late 1930s when he was on faculty at Mills College. Davies takes over the Steinway to play Harrison’s “Grand Duo” (with violinist Yumi Hwang-Williams) and the obscure Sonata No. 3 for Piano, from 1938.\u003c/p>\n\u003cp>It’s impossible to take Harrison’s measure in a few concerts, which is why OM has created a \u003ca href=\"http://otherminds.org/lou100/\">website\u003c/a> that lists international events related to his 100th birthday (including the Mill Valley Philharmonic performing “Seven Pastorals” on March 11 and 12, and San Francisco Contemporary Music Players “\u003ca href=\"http://sfcmp.org/fri-april-21-22-2017-lou-harrison-a-centenary-celebration/\">Centenary Celebration\u003c/a>” April 21-22 (The San Francisco Symphony’s SoundBox series already \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">dedicated a weekend\u003c/a> to Harrison in December)). As a poet, dancer, calligrapher, ardent Esperanto advocate, committed pacifist, trenchant music critic, and pioneering gay rights activist, the house of Harrison contained mansions. And until his death in 2003 at the age of 85, the long-time Aptos resident supported and nurtured successive generations of California composers.\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/_jWBcc97EAI'\n title='//www.youtube.com/embed/_jWBcc97EAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pulitzer Prize-winning Berkeley composer John Adams, the subject of numerous events celebrating his 70th birthday this year, recalls driving down to Santa Cruz in 1972 in his Karmann Ghia to borrow Harrison’s gamelan. He called Harrison out of the blue, “and he didn’t know me from Adam,” recalls Adams, who dedicated his piece “A New Day” to Harrison, and has often conducted Harrison’s music with major orchestras.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://otherminds.org/pdf/om22-lou100_schedule_v1f2.pdf\">OM celebration continues\u003c/a> May 20 at Mission Dolores with \u003cem>Lou Harrison Gamelan Masterpieces\u003c/em>, a program conducted by Nicole Paiement, and brimming with Harrison treasures such as 1974’s Suite for Violin & American Gamelan performed by violinist Shalini Vijayan and the William Winant Percussion Group, and 1972’s “La Koro Sutro” featuring the Mission Dolores Choir, Resound, organist Jerome Lenk, harpist Meredith Clark, and the William Winant Percussion Group.\u003c/p>\n\u003cp>“He was always a very generous soul,” says Adams. “Lou was really the only certifiable West Coast personality as a composer when I was coming up, but even back then, in the ’70s, he didn’t have a big reputation outside the state.\u003c/p>\n\u003cp>“I think people thought he was a little odd, writing for gamelan and welcoming all kinds of Asian influences. [But] after minimalists came around, Lou’s music became quite relevant.”\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>Other Minds’ programming for Lou Harrison’s centennial starts Saturday, Feb. 18, at Mission Dolores in San Francisco; \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">tickets ($12 – $20) here\u003c/a>. The celebration includes performances around the Bay Area through May. For tickets and more info, visit \u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\">The Lou Harrison Centennial Website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beloved Bay Area weirdo John Waters will return for his third year as host at this summer’s Burger Boogaloo music festival, taking place July 1 and 2 in Oakland’s Mosswood Park.\u003c/p>\n\u003cp>The festival’s lineup, always a celebration of old-school punk and rockabilly, features some heavy hitters this year: the predictably unpredictable proto-punk forefather Iggy Pop, who marked 2016 with the new album \u003cem>Post Pop Depression\u003c/em> — and who’ll turn 70 in April — serves as headliner.\u003c/p>\n\u003cfigure id=\"attachment_12771541\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/95-og.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12771541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/95-og.jpg\" alt=\"John Waters, emcee\" width=\"350\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og-240x359.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Waters, emcee\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside him will be the seminal British punks Buzzcocks and L.A.’s first-wave scene-setter X (whose \u003ca href=\"https://ww2.kqed.org/news/2017/01/04/in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate/\" target=\"_blank\" rel=\"noopener\">John Doe\u003c/a>, an East Bay resident, is working overtime these days as an author in addition to his solo country-folk career).\u003c/p>\n\u003cp>The rest of the lineup for the fifth annual fest includes Guitar Wolf, Nobunny, NRBQ, Personal & The Pizzas, Quintron & Ms. Pussycat, Shannon & the Clams, La Luz, Baby Shakes, Bloodshot Bill, Roy Loney, Jacuzzi Boys, Wounded Lion, Car Crash, and Glitter Wizard. Per tradition, other bands and performers will likely be announced closer to the festival date.\u003c/p>\n\u003cp>Tickets, which start at $69, are \u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">currently onsale for the two-day \u003c/a>\u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">p\u003c/a>\u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">arty\u003c/a>; visit the \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo website here\u003c/a> for details.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beloved Bay Area weirdo John Waters will return for his third year as host at this summer’s Burger Boogaloo music festival, taking place July 1 and 2 in Oakland’s Mosswood Park.\u003c/p>\n\u003cp>The festival’s lineup, always a celebration of old-school punk and rockabilly, features some heavy hitters this year: the predictably unpredictable proto-punk forefather Iggy Pop, who marked 2016 with the new album \u003cem>Post Pop Depression\u003c/em> — and who’ll turn 70 in April — serves as headliner.\u003c/p>\n\u003cfigure id=\"attachment_12771541\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/95-og.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12771541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/95-og.jpg\" alt=\"John Waters, emcee\" width=\"350\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/95-og-240x359.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Waters, emcee\u003c/figcaption>\u003c/figure>\n\u003cp>Alongside him will be the seminal British punks Buzzcocks and L.A.’s first-wave scene-setter X (whose \u003ca href=\"https://ww2.kqed.org/news/2017/01/04/in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate/\" target=\"_blank\" rel=\"noopener\">John Doe\u003c/a>, an East Bay resident, is working overtime these days as an author in addition to his solo country-folk career).\u003c/p>\n\u003cp>The rest of the lineup for the fifth annual fest includes Guitar Wolf, Nobunny, NRBQ, Personal & The Pizzas, Quintron & Ms. Pussycat, Shannon & the Clams, La Luz, Baby Shakes, Bloodshot Bill, Roy Loney, Jacuzzi Boys, Wounded Lion, Car Crash, and Glitter Wizard. Per tradition, other bands and performers will likely be announced closer to the festival date.\u003c/p>\n\u003cp>Tickets, which start at $69, are \u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">currently onsale for the two-day \u003c/a>\u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">p\u003c/a>\u003ca href=\"http://www.ticketfly.com/purchase/event/1431334\" target=\"_blank\" rel=\"noopener\">arty\u003c/a>; visit the \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo website here\u003c/a> for details.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Prolific film editor and sound designer Walter Murch has been in Hollywood for over half a century, working on such films as “Apocalypse Now,” “The Godfather” and “The English Patient.” But the three time Oscar-winner has another hobby: astrophysics. In his spare time, Murch steps away from the big screen and tries to prove Bode’s Law, a 240-year-old theory on the spacing of the planets in the solar system. Murch joins us to discuss his work in astrophysics and the connections he sees between astronomy and sound editing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IT5pGOyAnDU\u003c/p>\n\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\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>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Victor Jara might not be a household name outside his home country of Chile, but perhaps it should be: his story remains as relevant as it is poignant.\u003c/p>\n\u003cp>A singer-songwriter, theater director and working-class activist often called “the Bob Dylan of South America,” Jara became well-known in the late 1960s and early ’70s for his songs and writings on inequality, labor and social justice. That focus that took on a whole new layer of tragic irony when he was kidnapped, tortured and killed by Chilean military officers working for newly installed dictator Pinochet during the U.S.-backed coup of 1973.\u003c/p>\n\u003cp>\u003cem>The Resurrection of Victor Jara\u003c/em>, a 2015 documentary from director John Travers, explores the folk legend’s life, death and legacy through archival footage, interviews with musicians (Bono, Pete Seeger and Arlo Guthrie among them), and Jara’s songs — the artist’s own recordings as well as performances by the wide range of Chilean and Argentine musicians he influenced.\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/IT5pGOyAnDU'\n title='//www.youtube.com/embed/IT5pGOyAnDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film gets its West Coast debut this Saturday, Feb. 18, at Artists’ Television Access in San Francisco, as one of\u003ca href=\"http://film.noisepop.com/\" target=\"_blank\" rel=\"noopener\"> 11 films that comprise the Noise Pop festival’s 2017 lineup\u003c/a>. (Though it’s still primarily a music festival, Noise Pop has in recent years steadily expanded its film schedule; this year’s documentaries explore everything from the \u003ca href=\"http://film.noisepop.com/events/2017/2/18/my-buddha-is-punk\" target=\"_blank\" rel=\"noopener\">Burmese punk scene\u003c/a> to the rise of modern\u003ca href=\"http://film.noisepop.com/events/2017/2/17/festival\" target=\"_blank\" rel=\"noopener\"> festival culture\u003c/a> to rare footage from the \u003ca href=\"http://film.noisepop.com/events/2017/2/20/when-i-lay-my-burden-down-rare-footage-from-the-alan-lomax-archive-1937-1983\" target=\"_blank\" rel=\"noopener\">archives of folklorist Alan Lomax\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Resurrection\u003c/em>’s producer, Fernando Andres, will be onhand at ATA for a post-screening Q&A. And in case anyone needed help connecting the thematic threads presented by\u003ci> \u003c/i>Victor Jara’s story to modern-day problems: the feature-length film will be preceded by the 10-minute short \u003ci>The Boombox Collection: Boots Riley\u003c/i>, by local filmmaker Mohammad Gorjestani. The first installment in a portrait series focusing on underground hip-hop artists, the 2016 doc follows The Coup’s frontman on a drive through his native Oakland as he reflects on his long-running crusade against capitalism and his efforts to use music as a “mouthpiece.”\u003c/p>\n\u003cp>“It’s always being said that a movement needs art,” says Riley at one point. “I think art needs a movement.”\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>‘The Resurrection of Victor Jara’ screens at 4pm this Saturday, Feb. 18, at \u003ca href=\"http://www.atasite.org/\" target=\"_blank\" rel=\"noopener\">Artists’ Television Access\u003c/a> in San Francisco. \u003ca href=\"http://film.noisepop.com/events/2017/2/18/the-resurrection-of-victor-jara\" target=\"_blank\" rel=\"noopener\">Tickets ($12) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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