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"content": "\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n",
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"excerpt": "The plaintiffs hope that this $400-million lawsuit against a French studio \"goes to 11.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Did I Walk Around In the Rain All Morning Looking for This Sad Katy Perry Disco Ball?",
"title": "Why Did I Walk Around In the Rain All Morning Looking for This Sad Katy Perry Disco Ball?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Following celebrities on Instagram is a double-edged sword. \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\" target=\"_blank\">Britney Spears' inspirational quotes\u003c/a> can add a nice little moment of levity to your day; other times you get to be among the first (three million) people to know about \u003ca href=\"https://ww2.kqed.org/pop/2017/02/02/need-a-pleasant-distraction-here-are-even-more-photos-of-pregnant-beyonce/\" target=\"_blank\">Beyoncé's pregnancy\u003c/a>.\u003c/p>\n\u003cp>And sometimes? Sometimes you wind up tromping around San Francisco in the pouring rain looking for a disco ball chained to a bench, just so you can hear Katy Perry's new mediocre single a day before the general public.\u003c/p>\n\u003cp>The new song, you see, which Katy is slated to perform at the Grammys this Sunday, is called \"Chained To the Rhythm.\" In a board room somewhere in New York or Los Angeles, a team of highly paid executives decided the best way to visually represent this motif in a low-cost, hashtag-friendly marketing gimmick format was to chain plastic disco balls with headphone jacks in them to benches around the world, then tell people to go find them.\u003c/p>\n\u003cp>It all sounded incredibly stupid. Of course I went.\u003c/p>\n\u003cp>https://twitter.com/katyperry/status/829346621259288578\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you'll indulge a brief attempt at justification: This kind of marketing is interesting to me because it's at once a product of our times and incredibly old-timey. Remember when we lined up outside record stores to buy a new album the day it came out? You had to go to a physical location to consume the new music, and there you met other people who cared as much about that artist as you did. It was a collective experience. An \u003cem>event\u003c/em>.\u003c/p>\n\u003cp>Events are harder to come by in the internet age, as evidenced by the fact that the most interesting way anyone's come up with to generate hype for an new album in the past few years is just \"not announcing it.\" Even with a lavishly executed multi-media rollout like \u003cem>Lemonade\u003c/em>, the consumer experience was first and foremost a solitary one -- we experienced it alone, behind different TV and computer screens, then texted our friends or went on Twitter to talk about it.\u003c/p>\n\u003cp>This was different. It was participatory. Katy wanted me \u003ca href=\"http://chainedto.katyperry.com/\" target=\"_blank\">to look at a map\u003c/a>, then go find the disco ball -- at which point I would surely find a horde of Katy Perry fans. We'd take turns listening to the song, share thoughts about it, post on Twitter and Facebook and Instagram and Snapchat (thereby doing the viral marketing work for her), and go on our merry ways, secure in the knowledge that we were part of something special, something bigger than us -- a community. Real Katy Perry fans call themselves KatyCats, I believe? I'm too old to have ever identified by one of these \u003ca href=\"https://en.wikipedia.org/wiki/Stan_(fan)\" target=\"_blank\">pop star stan name things\u003c/a>, but I get it. And here was a chance to see firsthand.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/IMG_4397.png\">\u003cimg class=\"size-full wp-image-63323 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/IMG_4397.png\" alt=\"IMG_4397\" width=\"360\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397.png 360w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397-160x284.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397-240x427.png 240w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003c/a>\u003c/p>\n\u003cp>Except that it was pouring in San Francisco today. The interactive map showed the ball in Dolores Park, perched on a bench up near the southwest corner, looking down over the playground. So off I went, umbrella in hand, happily listening to \"Firework.\" I wondered what kind of Katy Perry fans I would meet, and whether or not we would be instant friends. I reached the top of the hill. The disco ball was nowhere to be found.\u003c/p>\n\u003cp>I dutifully checked #ChainedToTheRhythm on Twitter. In other cities -- London, Paris, Tokyo -- the internet was spilling over with images and short videos of Katy Perry fans showing up, plugging in, and experiencing the previously aforementioned rhythm.\u003c/p>\n\u003cp>https://twitter.com/UniversalSE/status/829357662349426688\u003c/p>\n\u003cp>As for San Francisco: It seemed the ball had been here up until about 45 minutes earlier; there were several tweets with photos from happy, headphoned people with checkmarks next to their names (professional Katy Perry fans??) that showed I had indeed found the right bench. But all it bore now was this symbol.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-8.jpg\">\u003cimg class=\"alignright size-medium wp-image-63322\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-8-800x600.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I had no idea what it meant. I checked the interactive map to see if the disco ball icon in San Francisco had moved. It hadn't. It started to rain harder. I sighed and headed for the office.\u003c/p>\n\u003cp>Then, idly scrolling various Katy Perry-related areas of the internet as I walked, I found a tweet from a Katy Perry fan who had managed to hear the song just before the disco ball had mysteriously disappeared. \"They are taking it to the Castro fyi,\" read his missive -- a distant, 140-character message in a bottle. An Instagram post confirmed this, locating the ball more specifically near the Castro Theatre. A vision: all the Katy Perry fans partying in front of the theater, having fun, listening to \"Chained to the Rhythm\" just a mile away, without me. I turned around and headed for the Castro, full of renewed vigor for the comrades I'd yet to meet.\u003c/p>\n\u003cp>At this point I sent a text message to a few friends, just in case I was killed in a freak accident and no one could determine why I was walking around in the rain instead of at work at 11 on a Wednesday, an interactive map of Katy Perry-themed disco balls on record as the last thing I'd ever Googled. \"I'm walking around in the rain trying to find a disco ball that's playing the new Katy Perry single,\" I explained. No one seemed concerned.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-7.jpg\">\u003cimg class=\"alignright size-full wp-image-63321\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-7.jpg\" alt=\"FullSizeRender (7)\" width=\"744\" height=\"696\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7.jpg 744w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-160x150.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-240x225.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-375x351.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-520x486.jpg 520w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003c/p>\n\u003cp>I spotted it not long after rounding the corner of 17th and Market. There, chained to a metal post outside of Hot Cookie, next to a pink sign explaining through the universal language of emoticon that one needed only headphones and this marketing gimmick to achieve happiness, was a shimmering, welcoming disco ball.\u003c/p>\n\u003cp>No one else was there.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-9.jpg\">\u003cimg class=\"alignright size-medium wp-image-63325\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-9-800x600.jpg\" alt=\"FullSizeRender (9)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Kneeling down to the wet cement, I briefly investigated the ball's physical properties, not unlike a monkey learning about a rock's potential at the beginning of \u003cem>2001: A Space Odyssey. \u003c/em>I disconnected my earbuds from my phone -- \"Teenage Dream\" would have to wait -- and just as I was about to plug into the headphone jack, a young woman with an umbrella appeared, asking if she could take my picture.\u003c/p>\n\u003cp>Cory was a brand-new intern with Universal Music Group, and it had been her job to put the disco ball together earlier that morning, audio player inside, then babysit it all day long, taking photos of people listening to \"Chained To the Rhythm\" and sharing them accordingly on social media. She explained apologetically that she had been at Dolores Park earlier, until an officer from San Francisco Rec and Park came by and asked if she had a permit. She did not. He directed her to unchain the rhythm, so to speak, and move on.\u003c/p>\n\u003cp>So here she was outside Hot Cookie. She had called her boss to discuss the new location, but she certainly didn't know how to update the interactive map. So far only two people aside from me had found the rhythm as it was currently chained at its new location. Cory legitimately felt terrible about this. I tried to tell her it was no big deal. I refrained from telling her about all the new Katy Perry fan friends I was now never going to make. It wasn't her fault. I pressed on. I plugged in.\u003c/p>\n\u003cp>Here is my review of what turned out to be only part of \"Chained to the Rhythm,\" as I heard it absolutely blasting on loop out of a plastic disco ball with no apparent volume control features in the middle of a downpour while balancing an umbrella with a record label intern taking pictures of me on Castro Street: \"Chained to the Rhythm\" sounds like if Lady Gaga's \"Alejandro\" and Sia's \"The Greatest\" and Rihanna's \"Don't Stop the Music\" had a baby, only worse.\u003c/p>\n\u003cp>https://twitter.com/robynxkatheryn/status/829350562500067328\u003c/p>\n\u003cp>It's less a devil-may-care disco tune than an aggressive, bludgeony club banger. There's a hook, and it's energetic, but not exactly uplifting. Sia wrote it, so it has a bit of that ominous minor-chord edge that suggests \"you will dance to this for the next two years but also you're going to feel vaguely anxious every single time.\" With some help from the internet, the lyrics include the following:\u003c/p>\n\u003cp>\u003cem>We wear those colored glasses on, and the party on\u003c/em>\u003cbr>\n\u003cem>Turn it up it's your favorite song\u003c/em>\u003cbr>\n\u003cem>Dance, dance, dance to the disco show\u003c/em>\u003cbr>\n\u003cem>Turn it up put it on repeat\u003c/em>\u003cbr>\n\u003cem>Stumbling around like a wasted song**\u003c/em>\u003cbr>\n\u003cem>Me? Yeah, we think we're free\u003c/em>\u003cbr>\n\u003cem>Drink, this one is on me\u003c/em>\u003c/p>\n\u003cp>\u003cem>We're all chained to the rhythm, to the rhythm, to the rhythm\u003c/em>\u003cbr>\n\u003cem>Aha, so good\u003c/em>\u003cbr>\n\u003cem>We wear those colored glasses on, and the party on\u003c/em>\u003cbr>\n\u003cem>Turn it up, it's your favorite song\u003c/em>\u003cbr>\n\u003cem>Dance, dance, dance to the disco show\u003c/em>\u003cbr>\n\u003cem>Come on, turn it up, keep it on repeat\u003c/em>\u003cbr>\n\u003cem>Stumbling around like a wasted song\u003c/em>\u003cbr>\n\u003cem>Me? Yeah, we think we're free\u003c/em>\u003cbr>\n\u003cem>Drink, this one is on me\u003c/em>\u003c/p>\n\u003cp>This imagery, given our current sociopolitical climate, is certainly open to interpretation. What does it mean, exactly, to be chained to the rhythm, robbed of our individual free will -- that supposedly quintessentially American value -- but lulled into believing the choice to dance is our own? Is the rhythm capitalism? Is it \u003cem>fascism\u003c/em>? Colored glasses, y'all. We think we're free, indeed.\u003c/p>\n\u003cp>The good news is that you will have six months to three years to ponder these questions and more, as this song is sure to be ubiquitous within the next week. And I, according to the laws of pop music, will probably love it after I've heard it 12 to 15 times.\u003c/p>\n\u003cp>https://twitter.com/StephiRuth/status/829406722678784014\u003c/p>\n\u003cp>For now, I give it a solid B-minus. I thanked Cory for her time and went on my way, but as far as I know she's still out there, babysitting the damn thing, so if you have any interest in Katy Perry or overly forced interactive corporate marketing strategy, you should really go visit her out there.\u003c/p>\n\u003cp>As for me: I don't know if I got the nostalgic, collective musical experience I was hoping for today -- but after I publish this, I'll share it on Twitter, hashtag it correctly, and tomorrow I might wake up with a handful of hardcore Katy Perry fans mad at me from all over the globe. If that's not evidence of a social media-driven marketing event successfully bringing people together and starting conversation in the year 2017, I really don't know what is.\u003c/p>\n\u003cp>(*\u003cem>*Full disclosure: Until the internet corrected me I thought \"Stumbling around like a wasted song / me?\" was actually \"Stumbling around like a wasted zombie,\" which would have been better.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In which our attempt to participate in a feel-good global marketing scheme for the single 'Chained to the Rhythm' leaves us cold. ",
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"headline": "Why Did I Walk Around In the Rain All Morning Looking for This Sad Katy Perry Disco Ball?",
"datePublished": "2017-02-08T16:55:42-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following celebrities on Instagram is a double-edged sword. \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\" target=\"_blank\">Britney Spears' inspirational quotes\u003c/a> can add a nice little moment of levity to your day; other times you get to be among the first (three million) people to know about \u003ca href=\"https://ww2.kqed.org/pop/2017/02/02/need-a-pleasant-distraction-here-are-even-more-photos-of-pregnant-beyonce/\" target=\"_blank\">Beyoncé's pregnancy\u003c/a>.\u003c/p>\n\u003cp>And sometimes? Sometimes you wind up tromping around San Francisco in the pouring rain looking for a disco ball chained to a bench, just so you can hear Katy Perry's new mediocre single a day before the general public.\u003c/p>\n\u003cp>The new song, you see, which Katy is slated to perform at the Grammys this Sunday, is called \"Chained To the Rhythm.\" In a board room somewhere in New York or Los Angeles, a team of highly paid executives decided the best way to visually represent this motif in a low-cost, hashtag-friendly marketing gimmick format was to chain plastic disco balls with headphone jacks in them to benches around the world, then tell people to go find them.\u003c/p>\n\u003cp>It all sounded incredibly stupid. Of course I went.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you'll indulge a brief attempt at justification: This kind of marketing is interesting to me because it's at once a product of our times and incredibly old-timey. Remember when we lined up outside record stores to buy a new album the day it came out? You had to go to a physical location to consume the new music, and there you met other people who cared as much about that artist as you did. It was a collective experience. An \u003cem>event\u003c/em>.\u003c/p>\n\u003cp>Events are harder to come by in the internet age, as evidenced by the fact that the most interesting way anyone's come up with to generate hype for an new album in the past few years is just \"not announcing it.\" Even with a lavishly executed multi-media rollout like \u003cem>Lemonade\u003c/em>, the consumer experience was first and foremost a solitary one -- we experienced it alone, behind different TV and computer screens, then texted our friends or went on Twitter to talk about it.\u003c/p>\n\u003cp>This was different. It was participatory. Katy wanted me \u003ca href=\"http://chainedto.katyperry.com/\" target=\"_blank\">to look at a map\u003c/a>, then go find the disco ball -- at which point I would surely find a horde of Katy Perry fans. We'd take turns listening to the song, share thoughts about it, post on Twitter and Facebook and Instagram and Snapchat (thereby doing the viral marketing work for her), and go on our merry ways, secure in the knowledge that we were part of something special, something bigger than us -- a community. Real Katy Perry fans call themselves KatyCats, I believe? I'm too old to have ever identified by one of these \u003ca href=\"https://en.wikipedia.org/wiki/Stan_(fan)\" target=\"_blank\">pop star stan name things\u003c/a>, but I get it. And here was a chance to see firsthand.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/IMG_4397.png\">\u003cimg class=\"size-full wp-image-63323 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/IMG_4397.png\" alt=\"IMG_4397\" width=\"360\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397.png 360w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397-160x284.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/IMG_4397-240x427.png 240w\" sizes=\"(max-width: 360px) 100vw, 360px\">\u003c/a>\u003c/p>\n\u003cp>Except that it was pouring in San Francisco today. The interactive map showed the ball in Dolores Park, perched on a bench up near the southwest corner, looking down over the playground. So off I went, umbrella in hand, happily listening to \"Firework.\" I wondered what kind of Katy Perry fans I would meet, and whether or not we would be instant friends. I reached the top of the hill. The disco ball was nowhere to be found.\u003c/p>\n\u003cp>I dutifully checked #ChainedToTheRhythm on Twitter. In other cities -- London, Paris, Tokyo -- the internet was spilling over with images and short videos of Katy Perry fans showing up, plugging in, and experiencing the previously aforementioned rhythm.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As for San Francisco: It seemed the ball had been here up until about 45 minutes earlier; there were several tweets with photos from happy, headphoned people with checkmarks next to their names (professional Katy Perry fans??) that showed I had indeed found the right bench. But all it bore now was this symbol.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-8.jpg\">\u003cimg class=\"alignright size-medium wp-image-63322\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-8-800x600.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-8.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>I had no idea what it meant. I checked the interactive map to see if the disco ball icon in San Francisco had moved. It hadn't. It started to rain harder. I sighed and headed for the office.\u003c/p>\n\u003cp>Then, idly scrolling various Katy Perry-related areas of the internet as I walked, I found a tweet from a Katy Perry fan who had managed to hear the song just before the disco ball had mysteriously disappeared. \"They are taking it to the Castro fyi,\" read his missive -- a distant, 140-character message in a bottle. An Instagram post confirmed this, locating the ball more specifically near the Castro Theatre. A vision: all the Katy Perry fans partying in front of the theater, having fun, listening to \"Chained to the Rhythm\" just a mile away, without me. I turned around and headed for the Castro, full of renewed vigor for the comrades I'd yet to meet.\u003c/p>\n\u003cp>At this point I sent a text message to a few friends, just in case I was killed in a freak accident and no one could determine why I was walking around in the rain instead of at work at 11 on a Wednesday, an interactive map of Katy Perry-themed disco balls on record as the last thing I'd ever Googled. \"I'm walking around in the rain trying to find a disco ball that's playing the new Katy Perry single,\" I explained. No one seemed concerned.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-7.jpg\">\u003cimg class=\"alignright size-full wp-image-63321\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-7.jpg\" alt=\"FullSizeRender (7)\" width=\"744\" height=\"696\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7.jpg 744w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-160x150.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-240x225.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-375x351.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-7-520x486.jpg 520w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003c/p>\n\u003cp>I spotted it not long after rounding the corner of 17th and Market. There, chained to a metal post outside of Hot Cookie, next to a pink sign explaining through the universal language of emoticon that one needed only headphones and this marketing gimmick to achieve happiness, was a shimmering, welcoming disco ball.\u003c/p>\n\u003cp>No one else was there.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-9.jpg\">\u003cimg class=\"alignright size-medium wp-image-63325\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/FullSizeRender-9-800x600.jpg\" alt=\"FullSizeRender (9)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/02/FullSizeRender-9.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Kneeling down to the wet cement, I briefly investigated the ball's physical properties, not unlike a monkey learning about a rock's potential at the beginning of \u003cem>2001: A Space Odyssey. \u003c/em>I disconnected my earbuds from my phone -- \"Teenage Dream\" would have to wait -- and just as I was about to plug into the headphone jack, a young woman with an umbrella appeared, asking if she could take my picture.\u003c/p>\n\u003cp>Cory was a brand-new intern with Universal Music Group, and it had been her job to put the disco ball together earlier that morning, audio player inside, then babysit it all day long, taking photos of people listening to \"Chained To the Rhythm\" and sharing them accordingly on social media. She explained apologetically that she had been at Dolores Park earlier, until an officer from San Francisco Rec and Park came by and asked if she had a permit. She did not. He directed her to unchain the rhythm, so to speak, and move on.\u003c/p>\n\u003cp>So here she was outside Hot Cookie. She had called her boss to discuss the new location, but she certainly didn't know how to update the interactive map. So far only two people aside from me had found the rhythm as it was currently chained at its new location. Cory legitimately felt terrible about this. I tried to tell her it was no big deal. I refrained from telling her about all the new Katy Perry fan friends I was now never going to make. It wasn't her fault. I pressed on. I plugged in.\u003c/p>\n\u003cp>Here is my review of what turned out to be only part of \"Chained to the Rhythm,\" as I heard it absolutely blasting on loop out of a plastic disco ball with no apparent volume control features in the middle of a downpour while balancing an umbrella with a record label intern taking pictures of me on Castro Street: \"Chained to the Rhythm\" sounds like if Lady Gaga's \"Alejandro\" and Sia's \"The Greatest\" and Rihanna's \"Don't Stop the Music\" had a baby, only worse.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It's less a devil-may-care disco tune than an aggressive, bludgeony club banger. There's a hook, and it's energetic, but not exactly uplifting. Sia wrote it, so it has a bit of that ominous minor-chord edge that suggests \"you will dance to this for the next two years but also you're going to feel vaguely anxious every single time.\" With some help from the internet, the lyrics include the following:\u003c/p>\n\u003cp>\u003cem>We wear those colored glasses on, and the party on\u003c/em>\u003cbr>\n\u003cem>Turn it up it's your favorite song\u003c/em>\u003cbr>\n\u003cem>Dance, dance, dance to the disco show\u003c/em>\u003cbr>\n\u003cem>Turn it up put it on repeat\u003c/em>\u003cbr>\n\u003cem>Stumbling around like a wasted song**\u003c/em>\u003cbr>\n\u003cem>Me? Yeah, we think we're free\u003c/em>\u003cbr>\n\u003cem>Drink, this one is on me\u003c/em>\u003c/p>\n\u003cp>\u003cem>We're all chained to the rhythm, to the rhythm, to the rhythm\u003c/em>\u003cbr>\n\u003cem>Aha, so good\u003c/em>\u003cbr>\n\u003cem>We wear those colored glasses on, and the party on\u003c/em>\u003cbr>\n\u003cem>Turn it up, it's your favorite song\u003c/em>\u003cbr>\n\u003cem>Dance, dance, dance to the disco show\u003c/em>\u003cbr>\n\u003cem>Come on, turn it up, keep it on repeat\u003c/em>\u003cbr>\n\u003cem>Stumbling around like a wasted song\u003c/em>\u003cbr>\n\u003cem>Me? Yeah, we think we're free\u003c/em>\u003cbr>\n\u003cem>Drink, this one is on me\u003c/em>\u003c/p>\n\u003cp>This imagery, given our current sociopolitical climate, is certainly open to interpretation. What does it mean, exactly, to be chained to the rhythm, robbed of our individual free will -- that supposedly quintessentially American value -- but lulled into believing the choice to dance is our own? Is the rhythm capitalism? Is it \u003cem>fascism\u003c/em>? Colored glasses, y'all. We think we're free, indeed.\u003c/p>\n\u003cp>The good news is that you will have six months to three years to ponder these questions and more, as this song is sure to be ubiquitous within the next week. And I, according to the laws of pop music, will probably love it after I've heard it 12 to 15 times.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For now, I give it a solid B-minus. I thanked Cory for her time and went on my way, but as far as I know she's still out there, babysitting the damn thing, so if you have any interest in Katy Perry or overly forced interactive corporate marketing strategy, you should really go visit her out there.\u003c/p>\n\u003cp>As for me: I don't know if I got the nostalgic, collective musical experience I was hoping for today -- but after I publish this, I'll share it on Twitter, hashtag it correctly, and tomorrow I might wake up with a handful of hardcore Katy Perry fans mad at me from all over the globe. If that's not evidence of a social media-driven marketing event successfully bringing people together and starting conversation in the year 2017, I really don't know what is.\u003c/p>\n\u003cp>(*\u003cem>*Full disclosure: Until the internet corrected me I thought \"Stumbling around like a wasted song / me?\" was actually \"Stumbling around like a wasted zombie,\" which would have been better.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hey Bay Area! What's with all the Contemporary Opera in February?",
"headTitle": "Hey Bay Area! What’s with all the Contemporary Opera in February? | KQED",
"content": "\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n",
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"excerpt": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
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"description": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
"title": "Hey Bay Area! What's with all the Contemporary Opera in February? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Happy International Clash Day, San Francisco",
"headTitle": "Happy International Clash Day, San Francisco | KQED",
"content": "\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IvG3is7Bm1w\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zyUsJWO-7jM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u-qcy0-7ngw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUNXA3srhYI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In the midst of a discussion about art's role in a protest movement, there's no better time to celebrate the legacy of The Clash. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\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/IvG3is7Bm1w'\n title='//www.youtube.com/embed/IvG3is7Bm1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\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/zyUsJWO-7jM'\n title='//www.youtube.com/embed/zyUsJWO-7jM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\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/u-qcy0-7ngw'\n title='//www.youtube.com/embed/u-qcy0-7ngw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\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/FUNXA3srhYI'\n title='//www.youtube.com/embed/FUNXA3srhYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "If It Bleeds, It Leads — For One Night At the Chapel, At Least",
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"content": "\u003cp>With all the double-speak that’s dominated the news the past few weeks — alternative facts, the ubiquitous pussy hat — there’s something refreshing about a rock ‘n’ roll show/women’s healthcare fundraiser that doesn’t shy away from the messy stuff. Specifically, blood.\u003c/p>\n\u003cp>Let It Bleed, a rock show and benefit taking place at \u003ca href=\"http://www.thechapelsf.com/event/1413907-let-it-bleed-rock-roll-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Chapel this Saturday, Feb. 11\u003c/a>, aims to “empower women, shatter the period taboo, add to the dialogue on the \u003ca href=\"http://www.npr.org/2016/03/06/467377295/citing-gender-bias-state-lawmakers-move-to-eliminate-tampon-tax\" target=\"_blank\" rel=\"noopener\">Tampon Tax\u003c/a> and \u003ca href=\"http://thehomelessperiod.com/\" target=\"_blank\" rel=\"noopener\">The Homeless Period\u003c/a>, and invite everyone to the conversation,” says organizer Lauren Espina.\u003c/p>\n\u003cp>The lineup is packed with notably hard-rocking women: headliners Dead Sara bring good, dancy post-hardcore from Los Angeles, while the rest of the bill is filled with local veterans Wax Idols, Kera and the Lesbians, and the Tambo Rays, all of whom land at different pinpoints on a punk-noise-pop-folk map — but let’s just say it’s going to be loud.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLGoeYOZ0Qs\u003c/p>\n\u003cp>Presented by feminist booker/promoter Sea Witch Productions, \u003ca href=\"https://www.facebook.com/events/870056306430058/\" target=\"_blank\" rel=\"noopener\">the event invite\u003c/a> asks that attendees bring unopened feminine hygiene products for donation to Compass Family Services, which serves homeless women and families. Those who come bearing pads, tampons, menstrual cups and the like receive a raffle ticket and the chance to win prizes like a “feminist book bundle” from co-sponsor Green Apple Books on the Park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qh0V5SZDZy8\u003c/p>\n\u003cp>A pop-up shop will host independent artists and women-owned businesses like The Tidy Shoppe, Popshop, Maiden Voyage Jewelry, and Sand She hawking their wares, and you’ll also be able to pick up the Sea Witch zine’s third issue, fresh off the presses.\u003c/p>\n\u003cp>Let’s be real: The United States can be a scary and often depressing place to be a woman right now. We’ve no time for the squeamish! And perhaps now more than ever, any chance to set foot in a room full of honest art and music made by women, organized by women, and benefiting women is one you should take — whether you’re a bleeder or not.\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>Let It Bleed: A Rock & Roll Tampon Drive feat. Dead Sara takes place at 9pm on Saturday, Feb. 11, at The Chapel in San Francisco. \u003ca href=\"http://www.ticketfly.com/purchase/event/1413907?utm_source=fbTfly&utm_medium=ampOfficialEvent\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With all the double-speak that’s dominated the news the past few weeks — alternative facts, the ubiquitous pussy hat — there’s something refreshing about a rock ‘n’ roll show/women’s healthcare fundraiser that doesn’t shy away from the messy stuff. Specifically, blood.\u003c/p>\n\u003cp>Let It Bleed, a rock show and benefit taking place at \u003ca href=\"http://www.thechapelsf.com/event/1413907-let-it-bleed-rock-roll-san-francisco/\" target=\"_blank\" rel=\"noopener\">the Chapel this Saturday, Feb. 11\u003c/a>, aims to “empower women, shatter the period taboo, add to the dialogue on the \u003ca href=\"http://www.npr.org/2016/03/06/467377295/citing-gender-bias-state-lawmakers-move-to-eliminate-tampon-tax\" target=\"_blank\" rel=\"noopener\">Tampon Tax\u003c/a> and \u003ca href=\"http://thehomelessperiod.com/\" target=\"_blank\" rel=\"noopener\">The Homeless Period\u003c/a>, and invite everyone to the conversation,” says organizer Lauren Espina.\u003c/p>\n\u003cp>The lineup is packed with notably hard-rocking women: headliners Dead Sara bring good, dancy post-hardcore from Los Angeles, while the rest of the bill is filled with local veterans Wax Idols, Kera and the Lesbians, and the Tambo Rays, all of whom land at different pinpoints on a punk-noise-pop-folk map — but let’s just say it’s going to be loud.\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/cLGoeYOZ0Qs'\n title='//www.youtube.com/embed/cLGoeYOZ0Qs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Presented by feminist booker/promoter Sea Witch Productions, \u003ca href=\"https://www.facebook.com/events/870056306430058/\" target=\"_blank\" rel=\"noopener\">the event invite\u003c/a> asks that attendees bring unopened feminine hygiene products for donation to Compass Family Services, which serves homeless women and families. Those who come bearing pads, tampons, menstrual cups and the like receive a raffle ticket and the chance to win prizes like a “feminist book bundle” from co-sponsor Green Apple Books on the Park.\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/Qh0V5SZDZy8'\n title='//www.youtube.com/embed/Qh0V5SZDZy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A pop-up shop will host independent artists and women-owned businesses like The Tidy Shoppe, Popshop, Maiden Voyage Jewelry, and Sand She hawking their wares, and you’ll also be able to pick up the Sea Witch zine’s third issue, fresh off the presses.\u003c/p>\n\u003cp>Let’s be real: The United States can be a scary and often depressing place to be a woman right now. We’ve no time for the squeamish! And perhaps now more than ever, any chance to set foot in a room full of honest art and music made by women, organized by women, and benefiting women is one you should take — whether you’re a bleeder or not.\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>Let It Bleed: A Rock & Roll Tampon Drive feat. Dead Sara takes place at 9pm on Saturday, Feb. 11, at The Chapel in San Francisco. \u003ca href=\"http://www.ticketfly.com/purchase/event/1413907?utm_source=fbTfly&utm_medium=ampOfficialEvent\" target=\"_blank\" rel=\"noopener\">Tickets ($18) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why John Adams Won't Write an Opera About President Trump",
"headTitle": "Why John Adams Won’t Write an Opera About President Trump | KQED",
"content": "\u003cp>Classical music isn’t the first place one expects to find political and social activism. But then, not many classical composers are John Adams, whose stature as one of the world’s most important and respected modern composers often overshadows the fact that he listened to Jimi Hendrix and Bob Dylan in his Harvard days, resisted Vietnam, and eventually moved to what he semi-jokingly calls the “liberal bubble” of Berkeley.\u003c/p>\n\u003cp>Celebrating his 70th birthday this month, Adams could easily rest on his laurels — his past works have already addressed nuclear war (\u003cem>Dr. Atomic\u003c/em>), feminism (\u003cem>The Gospel According to the Other Mary\u003c/em>), the Middle East (\u003cem>The Death of Klinghoffer\u003c/em>), and U.S.-foreign relations (\u003cem>Nixon in China\u003c/em>). Instead, he’s premiering a new opera this year, \u003cem>\u003ca href=\"https://www.earbox.com/girls-golden-west/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls of the Golden West\u003c/a>\u003c/em>, that touches on race relations, the silencing of dissent, women’s rights, and what we now call “fake news.” \u003c/p>\n\u003cp>In the midst of large-scale celebrations of Adams’ work around the world (including \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">three ambitious programs of his work at the San Francisco Symphony\u003c/a> in February), I spoke with the composer over the phone from his studio in northern Sonoma County about life under Trump, the dangers of the internet, the efficacy of musical protest and more. \u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\n \u003c/p>\n\u003cfigure id=\"attachment_12735611\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-800x1202.jpg\" alt=\"John Adams.\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-12735611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Vern Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So, how have you been feeling these past few weeks since Jan. 20?\u003c/strong>\u003c/p>\n\u003cp>I think I feel pretty much like everyone I know. It’s interesting — I left San Francisco on Inauguration Day to go to Berlin, where they did performances of my big oratorio, \u003cem>The Gospel According to the Other Mary\u003c/em>. It was just a cultural shock of the highest order to arrive in this city, which has seen so much tragedy and destruction because of its arrogance way back in the early part of the twentieth century — and is now the most tolerant, most welcoming multicultural city, probably in the world. To arrive as an American knowing that our country is heading full-throttle into what could be the worst social and political crisis in decades, if not in the history of the country, was a deeply shocking and troubling experience.\u003c/p>\n\u003cp>\u003cstrong>Did the election of Donald Trump surprise you?\u003c/strong>\u003c/p>\n\u003cp>Of course. I think it surprised everybody. Probably even him. I was reading the \u003cem>New York Times\u003c/em> and the \u003cem>Washington Post\u003c/em>, and we were all being constantly assured that it was a slam dunk for Hilary Clinton. I wasn’t the only one. It was the greatest shock I felt as a citizen since Sept. 11.\u003c/p>\n\u003cp>\u003cstrong>You have composed many pieces that would… I don’t necessarily want to call them prophetic, but touch on issues that are very electrified right now.\u003c/strong>\u003c/p>\n\u003cp>You mean like \u003cem>The Death of Klinghoffer\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Right, and we’ve just seen Trump’s Muslim ban enacted. There’s \u003cem>Dr. Atomic\u003c/em>, and now Trump says we should build up our nuclear arsenal. Or how \u003cem>Nixon in China\u003c/em> parallels with today, in a way, as a study of a leader’s personality and behavior. If you could compose an opera based on the White House right now, what issues would it comment on?\u003c/strong>\u003c/p>\n\u003cp>The idea of a Trump opera doesn’t interest me in the least. First of all, because so much of what he does is theater to begin with. It’s a terrible form of exploitive theater, but there’s no point in trying to make theater about theater. Furthermore, you don’t want to spend time as an artist giving your very best to a person who is a sociopath. He’s not an interesting character, because he has no capacity for empathy. The only empathy that he can extend is to his family, who are just extensions of his own ego, and beyond that, he doesn’t care. Everyone else is someone to be manipulated and controlled.\u003c/p>\n\u003cp>The thing with Nixon was he was interesting because he was vulnerable. His weaknesses were marvelously mixed up with his idealism. At the moment in \u003cem>Nixon in China\u003c/em> where he comes off the plane, and he greets Zhou Enlai, he sings this aria about being aware of himself as president, and being like the Apollo astronaut. He’s the pilot who’s piloting the ship through shoals. You can believe that there’s a part of Nixon that is actually noble despite all his paranoia and his faults.\u003c/p>\n\u003cp>I couldn’t imagine doing that with Trump, because there’s just nothing there except this raw, very dangerous ego, and overwhelming vanity. Maybe if I live that long, I will find some story that reflects this crisis, but I would have to approach it from an oblique angle.\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>\u003cstrong>Many artists that we’ve talked to have a form of writer’s block. They’re paralyzed by this. Are you?\u003c/strong>\u003c/p>\n\u003cp>No, not at all. I’m just finishing an opera for San Francisco Opera, which will premiere in November, \u003cem>Girls of the Golden West\u003c/em>. This opera, which I was working on all during the campaign, is based on the real, true facts of that era, and I discovered some interesting parallels. First of all, the people that came to California during the gold rush had been fed “fake news” by the media. All the journals and newspapers in the Midwest and the East even as far away as Europe were full of these bogus stories where all you had to do was get out here, and you could just bend over and pick up nuggets of gold and become immediately rich.\u003c/p>\n\u003cp>\u003cstrong>Which turned out to be, say, “alternative facts”?\u003c/strong>\u003c/p>\n\u003cp>That’s exactly it. When they got here, some people did get wealthy. But most of the people that got wealthy were the people who were smart, and didn’t make money from gold, but from supporting the influx — like people who sold food at outrageous prices. It’s amazing what the inflation of prices was in San Francisco and throughout Northern California during the gold rush.\u003c/p>\n\u003cp>But secondly, once things started getting tough, the white people turned around and virulently attacked the Mexicans, the Chinese, the Chileans and anyone who looked different. Of course, I’m composing this opera during the Trump campaign and feeling — what do the French say, \u003cem>rien de nouveau sous le soleil\u003c/em> — there’s nothing new under the sun.\u003c/p>\n\u003cp>And also, my opera deals with a few very brave and feisty women who were out here, and some of the misogyny. The culminating event in this opera is an incident that took place in the tiny gold rush town of Downieville, which is just down the road from where I’ve had a cabin for the last 35 years. A young Mexican woman about 25 was being harassed by a drunken white gold miner, and she stabbed him and killed him. The whole town insisted on giving her an immediate trial, and then they hanged her from the bridge over the Yuba River. \u003c/p>\n\u003cp>\u003cstrong>To keep drawing comparisons to the modern day, we’ve seen so much violent behavior in the past year. Some of it encouraged, even.\u003c/strong>\u003c/p>\n\u003cp>It’s awful. I was composing this crowd scene where I had to make up slogans for the crowd to scream. I had to contain myself from adding “Lock Her Up.” I thought that would be just a little too close to home. Anyway, I don’t want to make it sound like I’ve written this vicious propaganda work. Actually, there’s a great deal of warmth and humor and humanity in the piece. \u003c/p>\n\u003cfigure id=\"attachment_12735620\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg\" alt=\"John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC.\" width=\"1100\" height=\"585\" class=\"size-full wp-image-12735620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-1020x542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-960x511.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-520x277.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC. \u003ccite>(Lambert Orkis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We just saw a massive number of women marching around the country, and with the San Francisco Symphony, you’re doing \u003cem>Scheherazade.2\u003c/em> and \u003cem>The Gospel According to the Other Mary\u003c/em>, both stories with strong female characters like the \u003cem>Girls of the Golden West\u003c/em>. Where do you think your empathy for women comes from?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived with some wonderful and very strong and independent women, including my wife \u003ca href=\"https://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deborah O’Grady\u003c/a>, the photographer, and our daughter Emily, who is a painter. I think over the years I’ve become more sensitized to male assumptions, or presumptions. I’ve been able to look back on my own assumptions and realize that some of my own behavior, like almost every other man I know, needed a little adjustment.\u003c/p>\n\u003cp>But as a composer, what Carl Jung described as the female anima is such a strong force, and it really is the lyrical and expressive element in music. I don’t want to get into corny descriptions like they used to, where they said the first theme in a symphony was “masculine,” and the second theme was “feminine” — that’s a kind of embarrassing, sexist thing. But I do think of the feminine as an archetypal notion of warmth, expressiveness, understanding, and also of power. Those are the kinds of energies that are really behind the meaning of music.\u003c/p>\n\u003cp>\u003cstrong>What do you think about the idea that artists have a \u003cem>responsibility\u003c/em> now to react to our new administration?\u003cbr>\n\u003c/strong>\u003cbr>\nI think that’s an easy thing to say. I would simply say, forget the “artist” part of that and just say we \u003cem>all\u003c/em> have a responsibility. Every citizen does. And how we do it is up to each individual, whether you want to get on a plane and go protest in front of the White House or whether you want to work actively in your own neighborhood to get out the vote. Everybody has to do it in his or her own way.\u003c/p>\n\u003cfigure id=\"attachment_12735825\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg\" alt=\"A protest outside the Metropolitan Opera in New York City on opening night of the opera, 'The Death of Klinghoffer' on October 20, 2014.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12735825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest outside the Metropolitan Opera in New York City on opening night of the opera, ‘The Death of Klinghoffer’ on October 20, 2014. \u003ccite>(Bryan Thomas/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your way has meant that you’ve had people like Rudy Giuliani and Ruth Bader Ginsburg comment on your work.\u003cbr>\n\u003c/strong>\u003cbr>\nI got five minutes of scolding from Rush Limbaugh! I want to put that in my biography as a mark of distinction.\u003c/p>\n\u003cp>\u003cstrong>After that, after \u003cem>The Death of Klinghoffer\u003c/em>, did you feel a need, or an allure, to create art to spur listeners into challenging ideas?\u003c/strong>\u003c/p>\n\u003cp>No. I don’t think that there was anything positive about that event. Some people said, “Isn’t it great that a piece of classical music caused all that controversy, and you’ve got editorials in the \u003cem>New York Times\u003c/em>?” I didn’t take any pleasure from that at all, because it was deeply disturbing to be the target of an organized, online shaming campaign. The only positive thing about it was the mood inside the Metropolitan Opera. That the people who were there were very emotionally committed to it, and the fact that as the run went on, it became the best-selling opera of their year, or one of the top two or three. There was a nice satisfaction about that. But ultimately, it was a really awful experience in the fact that the Anti-Defamation League forced the Met to cancel the international telecast. It was a disgrace.\u003c/p>\n\u003cp>\u003cstrong>Some people today might spin that to their advantage. But you don’t revel in a reaction like that — you’re not an internet troll. \u003c/strong>\u003c/p>\n\u003cp>The internet is… I don’t use Facebook. My publisher has a page for me, and I do follow a very, very few people on Twitter, but they’re mostly young political reporters. I really like the site Vox.com.\u003c/p>\n\u003cp>The thing that I noticed about the feeds I’m reading — I was just saying this to my wife, this morning — it all agrees with my thought, and that’s the danger of the internet. People just read stuff from people that they agree with. I read all the news that kind of fits my political point of view, and I realize that people on the other side are doing the same thing, reading stuff that originates with Breitbart or whatever.\u003c/p>\n\u003cp>I know that we’ve had terrible crises in the country. In the past, Lincoln had to deal with these horrible anti-draft riots and terrible situations during the war, and of course we had the McCarthy era, on and on. But there’s something new and unknown that we’re really not prepared for in the country, and that’s the behavior patterns that the internet is causing. That’s one of the reasons that things are so violently divided in the country.\u003c/p>\n\u003cfigure id=\"attachment_12735626\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg\" alt=\"John Adams.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12735626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Deborah O'Grady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Everybody’s walking around right now saying, “What can we do?” Where do you see hope at this moment in America?\u003c/strong>\u003c/p>\n\u003cp>When I came back from Berlin on Saturday night, I came out of the customs area where they check your passport, and I heard this cheering, just a huge crowd, and then I walked into it, and there were hundreds and hundreds of people in the foyer with signs and placards. I got this rush, and it really brought me back to my student days during the Vietnam War. For years, I’ve been saying, “What’s happened to the outrage? What’s happened to the activism we showed back in the late ’60s and early ’70s?” And now I think that the country is experiencing that. It’s like a spasm.\u003c/p>\n\u003cp>I just read that \u003ca href=\"https://ww2.kqed.org/forum/2016/09/19/jeffrey-toobin-revisits-patty-hearst-case-in-american-heiress/\" target=\"_blank\" rel=\"noopener noreferrer\">new biography of Patty Hearst\u003c/a>. And, you know, with the SLA, and the Weathermen, there was a lot of domestic violence during the early ’70s. I fear that that’s going to happen again, but I do think this sense of protest and outrage and activism has been aroused. It’s anybody’s call. The scary thing is that the other side has guns. Of the thousands of people that I know personally, I think I know maybe one or two people who actually keep a gun in their home. The other side has them. That’s a very, kind of unsettling and alarming thought that if we ended up actually having a social situation that borders on a civil war.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>This year you’re turning 70. Many people reach that age and sort of relax, and stop creating, or caring about the world around them. You haven’t.\u003c/strong>\u003c/p>\n\u003cp>Oh no, I couldn’t conceive of that. I think the creative drive is a very powerful thing if you have it. Part of it’s just a measure of your own growth, your own spiritual growth, your intellectual growth. Part of it is just ego. You’re like an athlete or anybody who wants to accomplish something in life, you don’t want to be told, “Well, it’s time to hang up your gloves and just enjoy life.” We’re all driven to keep on going.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>For details and information on the San Francisco Symphony’s month-long celebration of John Adams, \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "\"There's just nothing there except this raw, very dangerous ego,\" says the composer, whose 70th birthday coincides with what he predicts \"could be the worst social and political crisis in decades.\"",
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"description": ""There's just nothing there except this raw, very dangerous ego," says the composer, whose 70th birthday coincides with what he predicts "could be the worst social and political crisis in decades."",
"title": "Why John Adams Won't Write an Opera About President Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Classical music isn’t the first place one expects to find political and social activism. But then, not many classical composers are John Adams, whose stature as one of the world’s most important and respected modern composers often overshadows the fact that he listened to Jimi Hendrix and Bob Dylan in his Harvard days, resisted Vietnam, and eventually moved to what he semi-jokingly calls the “liberal bubble” of Berkeley.\u003c/p>\n\u003cp>Celebrating his 70th birthday this month, Adams could easily rest on his laurels — his past works have already addressed nuclear war (\u003cem>Dr. Atomic\u003c/em>), feminism (\u003cem>The Gospel According to the Other Mary\u003c/em>), the Middle East (\u003cem>The Death of Klinghoffer\u003c/em>), and U.S.-foreign relations (\u003cem>Nixon in China\u003c/em>). Instead, he’s premiering a new opera this year, \u003cem>\u003ca href=\"https://www.earbox.com/girls-golden-west/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls of the Golden West\u003c/a>\u003c/em>, that touches on race relations, the silencing of dissent, women’s rights, and what we now call “fake news.” \u003c/p>\n\u003cp>In the midst of large-scale celebrations of Adams’ work around the world (including \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">three ambitious programs of his work at the San Francisco Symphony\u003c/a> in February), I spoke with the composer over the phone from his studio in northern Sonoma County about life under Trump, the dangers of the internet, the efficacy of musical protest and more. \u003c/p>\n\u003cp>\u003cem>Note: Interview has been edited for length and clarity.\u003cbr>\n\u003c/em>\u003cbr>\n \u003c/p>\n\u003cfigure id=\"attachment_12735611\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-800x1202.jpg\" alt=\"John Adams.\" width=\"800\" height=\"1202\" class=\"size-medium wp-image-12735611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams2.VernEvans-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Vern Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So, how have you been feeling these past few weeks since Jan. 20?\u003c/strong>\u003c/p>\n\u003cp>I think I feel pretty much like everyone I know. It’s interesting — I left San Francisco on Inauguration Day to go to Berlin, where they did performances of my big oratorio, \u003cem>The Gospel According to the Other Mary\u003c/em>. It was just a cultural shock of the highest order to arrive in this city, which has seen so much tragedy and destruction because of its arrogance way back in the early part of the twentieth century — and is now the most tolerant, most welcoming multicultural city, probably in the world. To arrive as an American knowing that our country is heading full-throttle into what could be the worst social and political crisis in decades, if not in the history of the country, was a deeply shocking and troubling experience.\u003c/p>\n\u003cp>\u003cstrong>Did the election of Donald Trump surprise you?\u003c/strong>\u003c/p>\n\u003cp>Of course. I think it surprised everybody. Probably even him. I was reading the \u003cem>New York Times\u003c/em> and the \u003cem>Washington Post\u003c/em>, and we were all being constantly assured that it was a slam dunk for Hilary Clinton. I wasn’t the only one. It was the greatest shock I felt as a citizen since Sept. 11.\u003c/p>\n\u003cp>\u003cstrong>You have composed many pieces that would… I don’t necessarily want to call them prophetic, but touch on issues that are very electrified right now.\u003c/strong>\u003c/p>\n\u003cp>You mean like \u003cem>The Death of Klinghoffer\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Right, and we’ve just seen Trump’s Muslim ban enacted. There’s \u003cem>Dr. Atomic\u003c/em>, and now Trump says we should build up our nuclear arsenal. Or how \u003cem>Nixon in China\u003c/em> parallels with today, in a way, as a study of a leader’s personality and behavior. If you could compose an opera based on the White House right now, what issues would it comment on?\u003c/strong>\u003c/p>\n\u003cp>The idea of a Trump opera doesn’t interest me in the least. First of all, because so much of what he does is theater to begin with. It’s a terrible form of exploitive theater, but there’s no point in trying to make theater about theater. Furthermore, you don’t want to spend time as an artist giving your very best to a person who is a sociopath. He’s not an interesting character, because he has no capacity for empathy. The only empathy that he can extend is to his family, who are just extensions of his own ego, and beyond that, he doesn’t care. Everyone else is someone to be manipulated and controlled.\u003c/p>\n\u003cp>The thing with Nixon was he was interesting because he was vulnerable. His weaknesses were marvelously mixed up with his idealism. At the moment in \u003cem>Nixon in China\u003c/em> where he comes off the plane, and he greets Zhou Enlai, he sings this aria about being aware of himself as president, and being like the Apollo astronaut. He’s the pilot who’s piloting the ship through shoals. You can believe that there’s a part of Nixon that is actually noble despite all his paranoia and his faults.\u003c/p>\n\u003cp>I couldn’t imagine doing that with Trump, because there’s just nothing there except this raw, very dangerous ego, and overwhelming vanity. Maybe if I live that long, I will find some story that reflects this crisis, but I would have to approach it from an oblique angle.\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>\u003cstrong>Many artists that we’ve talked to have a form of writer’s block. They’re paralyzed by this. Are you?\u003c/strong>\u003c/p>\n\u003cp>No, not at all. I’m just finishing an opera for San Francisco Opera, which will premiere in November, \u003cem>Girls of the Golden West\u003c/em>. This opera, which I was working on all during the campaign, is based on the real, true facts of that era, and I discovered some interesting parallels. First of all, the people that came to California during the gold rush had been fed “fake news” by the media. All the journals and newspapers in the Midwest and the East even as far away as Europe were full of these bogus stories where all you had to do was get out here, and you could just bend over and pick up nuggets of gold and become immediately rich.\u003c/p>\n\u003cp>\u003cstrong>Which turned out to be, say, “alternative facts”?\u003c/strong>\u003c/p>\n\u003cp>That’s exactly it. When they got here, some people did get wealthy. But most of the people that got wealthy were the people who were smart, and didn’t make money from gold, but from supporting the influx — like people who sold food at outrageous prices. It’s amazing what the inflation of prices was in San Francisco and throughout Northern California during the gold rush.\u003c/p>\n\u003cp>But secondly, once things started getting tough, the white people turned around and virulently attacked the Mexicans, the Chinese, the Chileans and anyone who looked different. Of course, I’m composing this opera during the Trump campaign and feeling — what do the French say, \u003cem>rien de nouveau sous le soleil\u003c/em> — there’s nothing new under the sun.\u003c/p>\n\u003cp>And also, my opera deals with a few very brave and feisty women who were out here, and some of the misogyny. The culminating event in this opera is an incident that took place in the tiny gold rush town of Downieville, which is just down the road from where I’ve had a cabin for the last 35 years. A young Mexican woman about 25 was being harassed by a drunken white gold miner, and she stabbed him and killed him. The whole town insisted on giving her an immediate trial, and then they hanged her from the bridge over the Yuba River. \u003c/p>\n\u003cp>\u003cstrong>To keep drawing comparisons to the modern day, we’ve seen so much violent behavior in the past year. Some of it encouraged, even.\u003c/strong>\u003c/p>\n\u003cp>It’s awful. I was composing this crowd scene where I had to make up slogans for the crowd to scream. I had to contain myself from adding “Lock Her Up.” I thought that would be just a little too close to home. Anyway, I don’t want to make it sound like I’ve written this vicious propaganda work. Actually, there’s a great deal of warmth and humor and humanity in the piece. \u003c/p>\n\u003cfigure id=\"attachment_12735620\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg\" alt=\"John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC.\" width=\"1100\" height=\"585\" class=\"size-full wp-image-12735620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-1020x542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-960x511.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-375x199.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.LambertOrkis-520x277.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">John Adams conducting the National Symphony Orchestra at the Kennedy Center for the Performing Arts, Washington, DC. \u003ccite>(Lambert Orkis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We just saw a massive number of women marching around the country, and with the San Francisco Symphony, you’re doing \u003cem>Scheherazade.2\u003c/em> and \u003cem>The Gospel According to the Other Mary\u003c/em>, both stories with strong female characters like the \u003cem>Girls of the Golden West\u003c/em>. Where do you think your empathy for women comes from?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived with some wonderful and very strong and independent women, including my wife \u003ca href=\"https://www.deborahogrady.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deborah O’Grady\u003c/a>, the photographer, and our daughter Emily, who is a painter. I think over the years I’ve become more sensitized to male assumptions, or presumptions. I’ve been able to look back on my own assumptions and realize that some of my own behavior, like almost every other man I know, needed a little adjustment.\u003c/p>\n\u003cp>But as a composer, what Carl Jung described as the female anima is such a strong force, and it really is the lyrical and expressive element in music. I don’t want to get into corny descriptions like they used to, where they said the first theme in a symphony was “masculine,” and the second theme was “feminine” — that’s a kind of embarrassing, sexist thing. But I do think of the feminine as an archetypal notion of warmth, expressiveness, understanding, and also of power. Those are the kinds of energies that are really behind the meaning of music.\u003c/p>\n\u003cp>\u003cstrong>What do you think about the idea that artists have a \u003cem>responsibility\u003c/em> now to react to our new administration?\u003cbr>\n\u003c/strong>\u003cbr>\nI think that’s an easy thing to say. I would simply say, forget the “artist” part of that and just say we \u003cem>all\u003c/em> have a responsibility. Every citizen does. And how we do it is up to each individual, whether you want to get on a plane and go protest in front of the White House or whether you want to work actively in your own neighborhood to get out the vote. Everybody has to do it in his or her own way.\u003c/p>\n\u003cfigure id=\"attachment_12735825\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg\" alt=\"A protest outside the Metropolitan Opera in New York City on opening night of the opera, 'The Death of Klinghoffer' on October 20, 2014.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-12735825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/johnadams.klinghofferprotes.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest outside the Metropolitan Opera in New York City on opening night of the opera, ‘The Death of Klinghoffer’ on October 20, 2014. \u003ccite>(Bryan Thomas/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Your way has meant that you’ve had people like Rudy Giuliani and Ruth Bader Ginsburg comment on your work.\u003cbr>\n\u003c/strong>\u003cbr>\nI got five minutes of scolding from Rush Limbaugh! I want to put that in my biography as a mark of distinction.\u003c/p>\n\u003cp>\u003cstrong>After that, after \u003cem>The Death of Klinghoffer\u003c/em>, did you feel a need, or an allure, to create art to spur listeners into challenging ideas?\u003c/strong>\u003c/p>\n\u003cp>No. I don’t think that there was anything positive about that event. Some people said, “Isn’t it great that a piece of classical music caused all that controversy, and you’ve got editorials in the \u003cem>New York Times\u003c/em>?” I didn’t take any pleasure from that at all, because it was deeply disturbing to be the target of an organized, online shaming campaign. The only positive thing about it was the mood inside the Metropolitan Opera. That the people who were there were very emotionally committed to it, and the fact that as the run went on, it became the best-selling opera of their year, or one of the top two or three. There was a nice satisfaction about that. But ultimately, it was a really awful experience in the fact that the Anti-Defamation League forced the Met to cancel the international telecast. It was a disgrace.\u003c/p>\n\u003cp>\u003cstrong>Some people today might spin that to their advantage. But you don’t revel in a reaction like that — you’re not an internet troll. \u003c/strong>\u003c/p>\n\u003cp>The internet is… I don’t use Facebook. My publisher has a page for me, and I do follow a very, very few people on Twitter, but they’re mostly young political reporters. I really like the site Vox.com.\u003c/p>\n\u003cp>The thing that I noticed about the feeds I’m reading — I was just saying this to my wife, this morning — it all agrees with my thought, and that’s the danger of the internet. People just read stuff from people that they agree with. I read all the news that kind of fits my political point of view, and I realize that people on the other side are doing the same thing, reading stuff that originates with Breitbart or whatever.\u003c/p>\n\u003cp>I know that we’ve had terrible crises in the country. In the past, Lincoln had to deal with these horrible anti-draft riots and terrible situations during the war, and of course we had the McCarthy era, on and on. But there’s something new and unknown that we’re really not prepared for in the country, and that’s the behavior patterns that the internet is causing. That’s one of the reasons that things are so violently divided in the country.\u003c/p>\n\u003cfigure id=\"attachment_12735626\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg\" alt=\"John Adams.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12735626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/JohnAdams.DeborahOGrady.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Deborah O'Grady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Everybody’s walking around right now saying, “What can we do?” Where do you see hope at this moment in America?\u003c/strong>\u003c/p>\n\u003cp>When I came back from Berlin on Saturday night, I came out of the customs area where they check your passport, and I heard this cheering, just a huge crowd, and then I walked into it, and there were hundreds and hundreds of people in the foyer with signs and placards. I got this rush, and it really brought me back to my student days during the Vietnam War. For years, I’ve been saying, “What’s happened to the outrage? What’s happened to the activism we showed back in the late ’60s and early ’70s?” And now I think that the country is experiencing that. It’s like a spasm.\u003c/p>\n\u003cp>I just read that \u003ca href=\"https://ww2.kqed.org/forum/2016/09/19/jeffrey-toobin-revisits-patty-hearst-case-in-american-heiress/\" target=\"_blank\" rel=\"noopener noreferrer\">new biography of Patty Hearst\u003c/a>. And, you know, with the SLA, and the Weathermen, there was a lot of domestic violence during the early ’70s. I fear that that’s going to happen again, but I do think this sense of protest and outrage and activism has been aroused. It’s anybody’s call. The scary thing is that the other side has guns. Of the thousands of people that I know personally, I think I know maybe one or two people who actually keep a gun in their home. The other side has them. That’s a very, kind of unsettling and alarming thought that if we ended up actually having a social situation that borders on a civil war.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This year you’re turning 70. Many people reach that age and sort of relax, and stop creating, or caring about the world around them. You haven’t.\u003c/strong>\u003c/p>\n\u003cp>Oh no, I couldn’t conceive of that. I think the creative drive is a very powerful thing if you have it. Part of it’s just a measure of your own growth, your own spiritual growth, your intellectual growth. Part of it is just ego. You’re like an athlete or anybody who wants to accomplish something in life, you don’t want to be told, “Well, it’s time to hang up your gloves and just enjoy life.” We’re all driven to keep on going.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>For details and information on the San Francisco Symphony’s month-long celebration of John Adams, \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener noreferrer\">see here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Even With Travel Ban Blocked, Artists Are Still Left Hanging",
"headTitle": "Even With Travel Ban Blocked, Artists Are Still Left Hanging | KQED",
"content": "\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Musicians form an important cultural conduit between the U.S. and the seven countries included in the ban. Despite judicial stays upheld on appeal, artists still can't hit the road.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Documenting Oakland's House Shows For Posterity — and Peace of Mind",
"headTitle": "Documenting Oakland’s House Shows For Posterity — and Peace of Mind | KQED",
"content": "\u003cp>Despite being a regular fixture at Oakland house shows, Nicholas Taplin still stands out. Known to many as Post-Consumer, the 36-year-old freelance audio engineer towers above the mosh pit in thick blue jeans and a zip-up fleece, clutching a camera with expertly steady hands. He’s punctual, polite, sober, and rarely engages in conversation — but he always shows up. And people appreciate that.\u003c/p>\n\u003cp>For Taplin, documenting Oakland’s contemporary underground music scene is a healthy obsession. He speaks about its bands, venues, and culture with encyclopedic knowledge and anthropological observations — part active fan, part fly on the wall.\u003c/p>\n\u003cp>In late 2015, he started filming DIY shows under the moniker Post-Consumer and publishing them on \u003ca href=\"https://www.facebook.com/postconsumermedia\">Facebook\u003c/a>. Now, he maintains an extensive archive of videos at \u003ca href=\"http://post-consumer.tv/\">Post-Consumer.TV\u003c/a>, where performances from over four dozen bands can be watched on an endless loop. Nearly every one features an Oakland band playing at a house or DIY venue in the East Bay. And, to Taplin, they prove that the current scene in Oakland is exceptional.\u003c/p>\n\u003cp>“This is the best music scene I’ve ever been a part of,” says Taplin, who has lived in Santa Cruz, Los Angeles, Portland, Austin and Olympia. “Not everything is great, but great things happen with such frequency. All I want to do with this project is give undeniable evidence that amazing things happen here all the time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mh8D2nhAidM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taplin first began documenting live music as an undergraduate at UC Santa Cruz. He arrived in 1998\u003cb>,\u003c/b> after attending a Quaker boarding school on the East Coast, and immediately gravitated toward indie-rock house shows, but found himself hindered by severe social anxiety.\u003c/p>\n\u003cp>“I was completely unconditioned socially,” says Taplin. “I did not know how to have a conversation, literally, and I had basically never had a friend.”\u003c/p>\n\u003cp>As a way to take part in shows without having to socialize, Taplin decided to record live sets onto digital audio tapes. Gradually, as local musicians began to recognize the value of his work, he carved out a place for himself in the scene that fit his personality. (Taplin’s archive of early-aughts Santa Cruz indie rock now \u003ca href=\"http://post-consumer.com/santa-cruz-live-indie-rock/\">exists online\u003c/a> as well.)\u003c/p>\n\u003cp>“[Recording] served two purposes,” he says. “One is that I thought it was useful, and two is that it gave me a reason not to talk to people.”\u003c/p>\n\u003cp>The next decade saw Taplin evolving as both a documentarian and show-goer. He moved around, chasing music scenes he admired, and built up the record label that he started casually in college — also called \u003ca href=\"http://post-consumer.com/\">Post-Consumer\u003c/a>, a nod to his work “recycling” live music for later appreciation. While living in Portland, he opened a recording studio called the Silo where he would also occasionally host shows.\u003c/p>\n\u003cfigure id=\"attachment_12706457\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12706457 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown.jpg\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nicholas Taplin. \u003ccite>(Courtesy Kevin Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After moving to Oakland in 2012, he didn’t immediately become part of the music scene, but began going to shows when he was depressed. In September 2015, a band called Tender Tantrum asked him to film them playing at the DIY space Sgraffito. They performed an \u003ca href=\"http://<iframe%20width=%22560%22%20height=%22315%22%20src=%22https://www.youtube.com/embed/w62sLEX13qQ%22%20frameborder=%220%22%20allowfullscreen></iframe>\">unhinged cover\u003c/a> of Katy Perry’s “Firework.”\u003c/p>\n\u003cp>“The footage was fantastic,” Taplin recalls.\u003c/p>\n\u003cp>He edited it down, color corrected, and mastered the audio — a process he’s now perfected. Then, he put the video online. “Immediately, people loved it,” he says. “I was like, ‘This is the most fun thing I’ve ever done in my entire life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w62sLEX13qQ\u003c/p>\n\u003cp>The project snowballed from there. After about a year of filming consistently — but only editing and publishing the best footage — Taplin has documented more than 50 bands; some of his videos have racked up over 10,000 views.\u003c/p>\n\u003cp>What makes Taplin’s footage thrilling to watch is, in part, the same thing that separates it from slick concert videos filmed in mainstream venues — namely, that house shows are messy, exciting and visceral. Among Taplin’s collection, for example, is footage of Oakland electro body music band Diesel Dudes performing in their underwear in a West Oakland bedroom. Sweat seems to seep through the grainy footage as cramped singer Doug Du Fresne nearly swallows the mic. Then, mid-set, he drops to the floor to perform push-ups as he’s cheered on by the pulsing mob precariously packed around him, some joining in his workout.\u003c/p>\n\u003cp>“You can’t pay people to act like that audience,” says Taplin. “You couldn’t pay actors to come to a show and act like that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A0my3NXVMzQ\u003c/p>\n\u003cp>Beyond capturing the music, Taplin hopes to document the distinct energy of house shows and the wildly expressive characters who attend them. That environment, he says, is what has made him feel more at home in Oakland than anywhere else he’s lived.\u003c/p>\n\u003cp>“I will go to a show if I’m having an anxiety attack,” he says. “I will go to a show if I’m depressed. I will go to a show regardless of how I feel and basically, almost always, I feel better at the show than I did before.\u003c/p>\n\u003cp>“Even if I’m not talking to people, I like them,” he says. “That’s my community.”\u003c/p>\n\u003cp>And when Taplin talks about circulating evidence of Oakland’s house show culture, he’s not just interested in posterity. He also intends to inspire — and perhaps provide reassurance to people who haven’t yet found their scene.\u003c/p>\n\u003cp>“I really, really hope that maybe a 15-year-old from a town that has no scene and bad politics and mean people and just sh-ttiness all around — I really hope that person can see that Diesel Dudes video and be like, ‘Okay. It gets better.'”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more of Taplin’s videos, see either his Post-Consumer \u003ca href=\"http://post-consumer.tv/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or \u003ca href=\"https://www.facebook.com/postconsumermedia/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite being a regular fixture at Oakland house shows, Nicholas Taplin still stands out. Known to many as Post-Consumer, the 36-year-old freelance audio engineer towers above the mosh pit in thick blue jeans and a zip-up fleece, clutching a camera with expertly steady hands. He’s punctual, polite, sober, and rarely engages in conversation — but he always shows up. And people appreciate that.\u003c/p>\n\u003cp>For Taplin, documenting Oakland’s contemporary underground music scene is a healthy obsession. He speaks about its bands, venues, and culture with encyclopedic knowledge and anthropological observations — part active fan, part fly on the wall.\u003c/p>\n\u003cp>In late 2015, he started filming DIY shows under the moniker Post-Consumer and publishing them on \u003ca href=\"https://www.facebook.com/postconsumermedia\">Facebook\u003c/a>. Now, he maintains an extensive archive of videos at \u003ca href=\"http://post-consumer.tv/\">Post-Consumer.TV\u003c/a>, where performances from over four dozen bands can be watched on an endless loop. Nearly every one features an Oakland band playing at a house or DIY venue in the East Bay. And, to Taplin, they prove that the current scene in Oakland is exceptional.\u003c/p>\n\u003cp>“This is the best music scene I’ve ever been a part of,” says Taplin, who has lived in Santa Cruz, Los Angeles, Portland, Austin and Olympia. “Not everything is great, but great things happen with such frequency. All I want to do with this project is give undeniable evidence that amazing things happen here all the time.”\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/Mh8D2nhAidM'\n title='//www.youtube.com/embed/Mh8D2nhAidM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taplin first began documenting live music as an undergraduate at UC Santa Cruz. He arrived in 1998\u003cb>,\u003c/b> after attending a Quaker boarding school on the East Coast, and immediately gravitated toward indie-rock house shows, but found himself hindered by severe social anxiety.\u003c/p>\n\u003cp>“I was completely unconditioned socially,” says Taplin. “I did not know how to have a conversation, literally, and I had basically never had a friend.”\u003c/p>\n\u003cp>As a way to take part in shows without having to socialize, Taplin decided to record live sets onto digital audio tapes. Gradually, as local musicians began to recognize the value of his work, he carved out a place for himself in the scene that fit his personality. (Taplin’s archive of early-aughts Santa Cruz indie rock now \u003ca href=\"http://post-consumer.com/santa-cruz-live-indie-rock/\">exists online\u003c/a> as well.)\u003c/p>\n\u003cp>“[Recording] served two purposes,” he says. “One is that I thought it was useful, and two is that it gave me a reason not to talk to people.”\u003c/p>\n\u003cp>The next decade saw Taplin evolving as both a documentarian and show-goer. He moved around, chasing music scenes he admired, and built up the record label that he started casually in college — also called \u003ca href=\"http://post-consumer.com/\">Post-Consumer\u003c/a>, a nod to his work “recycling” live music for later appreciation. While living in Portland, he opened a recording studio called the Silo where he would also occasionally host shows.\u003c/p>\n\u003cfigure id=\"attachment_12706457\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12706457 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown.jpg\" width=\"2048\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/me-by-Kevin-Brown-520x390.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Nicholas Taplin. \u003ccite>(Courtesy Kevin Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After moving to Oakland in 2012, he didn’t immediately become part of the music scene, but began going to shows when he was depressed. In September 2015, a band called Tender Tantrum asked him to film them playing at the DIY space Sgraffito. They performed an \u003ca href=\"http://<iframe%20width=%22560%22%20height=%22315%22%20src=%22https://www.youtube.com/embed/w62sLEX13qQ%22%20frameborder=%220%22%20allowfullscreen></iframe>\">unhinged cover\u003c/a> of Katy Perry’s “Firework.”\u003c/p>\n\u003cp>“The footage was fantastic,” Taplin recalls.\u003c/p>\n\u003cp>He edited it down, color corrected, and mastered the audio — a process he’s now perfected. Then, he put the video online. “Immediately, people loved it,” he says. “I was like, ‘This is the most fun thing I’ve ever done in my entire life.”\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/w62sLEX13qQ'\n title='//www.youtube.com/embed/w62sLEX13qQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The project snowballed from there. After about a year of filming consistently — but only editing and publishing the best footage — Taplin has documented more than 50 bands; some of his videos have racked up over 10,000 views.\u003c/p>\n\u003cp>What makes Taplin’s footage thrilling to watch is, in part, the same thing that separates it from slick concert videos filmed in mainstream venues — namely, that house shows are messy, exciting and visceral. Among Taplin’s collection, for example, is footage of Oakland electro body music band Diesel Dudes performing in their underwear in a West Oakland bedroom. Sweat seems to seep through the grainy footage as cramped singer Doug Du Fresne nearly swallows the mic. Then, mid-set, he drops to the floor to perform push-ups as he’s cheered on by the pulsing mob precariously packed around him, some joining in his workout.\u003c/p>\n\u003cp>“You can’t pay people to act like that audience,” says Taplin. “You couldn’t pay actors to come to a show and act like that.”\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/A0my3NXVMzQ'\n title='//www.youtube.com/embed/A0my3NXVMzQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beyond capturing the music, Taplin hopes to document the distinct energy of house shows and the wildly expressive characters who attend them. That environment, he says, is what has made him feel more at home in Oakland than anywhere else he’s lived.\u003c/p>\n\u003cp>“I will go to a show if I’m having an anxiety attack,” he says. “I will go to a show if I’m depressed. I will go to a show regardless of how I feel and basically, almost always, I feel better at the show than I did before.\u003c/p>\n\u003cp>“Even if I’m not talking to people, I like them,” he says. “That’s my community.”\u003c/p>\n\u003cp>And when Taplin talks about circulating evidence of Oakland’s house show culture, he’s not just interested in posterity. He also intends to inspire — and perhaps provide reassurance to people who haven’t yet found their scene.\u003c/p>\n\u003cp>“I really, really hope that maybe a 15-year-old from a town that has no scene and bad politics and mean people and just sh-ttiness all around — I really hope that person can see that Diesel Dudes video and be like, ‘Okay. It gets better.'”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more of Taplin’s videos, see either his Post-Consumer \u003ca href=\"http://post-consumer.tv/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or \u003ca href=\"https://www.facebook.com/postconsumermedia/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ENTRANCE's 'Not Gonna Say Your Name' Proves the Power of Omission",
"headTitle": "ENTRANCE’s ‘Not Gonna Say Your Name’ Proves the Power of Omission | 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 posting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003cp>Not a day has gone by for the past few weeks that the morning headlines don’t bear some \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">previously incomprehensible news\u003c/a> about our current president. You’ve probably gotten used to reading, saying and hearing the name “Trump” countless times in any given day. (This is to say nothing of repeated exposure to photographs — though there are\u003ca href=\"https://twitter.com/emmaruthless/status/827245399228375040\" target=\"_blank\" rel=\"noopener\"> steps you can take\u003c/a> to ameliorate that one, should you be experiencing negative side effects.)\u003c/p>\n\u003cp>In the weeks leading up to Trump’s inauguration, Guy Blakeslee, a Los Angeles singer-songwriter who performs as ENTRANCE, decided he didn’t want to add to the chorus, so to speak. But he did want to “write a song expressing my own feelings about the election and the state of things in our country,” he says. “Like many, I was in a state of mourning. I wondered, ‘How can I sing about this without saying his name?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqpQEHHV6Ns\u003c/p>\n\u003cp>“Not Gonna Say Your Name,” a protest song that takes on the simple, layered vocals of a church hymn, is the result. Released last week, it’s available to hear online for free, of course (the “official” video, above, was made using footage sent in by protesters around the country). But if you decide to purchase it on \u003ca href=\"https://entrancelives.bandcamp.com/album/not-gonna-say-your-name\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, you get to pat yourself on the back (the song’s proceeds go directly to Planned Parenthood) \u003cem>and \u003c/em>check out the single’s sweet, clearly Sex Pistols-inspired album art while you’re at it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12714189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\" alt=\"a3433238851_16\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>“I decided to use the song to benefit PP because one of the things that is so shocking about the election result is that it sends such a negative message to women and girls,” explains Blakeslee. “It’s the least I could do — for all of the women in the world, in my life, and especially for my mother — to fight back and make a clear statement that we will not accept this backwards agenda.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ENTRANCE \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/2/4/folk-yeah-presents-bill-callahan\" target=\"_blank\" rel=\"noopener\">plays the Starline Social Club in Oakland\u003c/a> on Saturday, Feb. 4, warming up the stage for Bill Callahan. That show’s sold out, but Blakeslee comes back the Bay to play the Hemlock Tavern in April, after releasing a new full-length called \u003cem>Book of Changes. \u003c/em>He’ll probably be happy to play the song then as well, but: April! There’s truly \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">no telling what might happen\u003c/a> between then and now.\u003c/p>\n\n",
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"excerpt": "A sweet, hymn-like song for Planned Parenthood manages to say a lot — without ever uttering the T-word. ",
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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 posting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003cp>Not a day has gone by for the past few weeks that the morning headlines don’t bear some \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">previously incomprehensible news\u003c/a> about our current president. You’ve probably gotten used to reading, saying and hearing the name “Trump” countless times in any given day. (This is to say nothing of repeated exposure to photographs — though there are\u003ca href=\"https://twitter.com/emmaruthless/status/827245399228375040\" target=\"_blank\" rel=\"noopener\"> steps you can take\u003c/a> to ameliorate that one, should you be experiencing negative side effects.)\u003c/p>\n\u003cp>In the weeks leading up to Trump’s inauguration, Guy Blakeslee, a Los Angeles singer-songwriter who performs as ENTRANCE, decided he didn’t want to add to the chorus, so to speak. But he did want to “write a song expressing my own feelings about the election and the state of things in our country,” he says. “Like many, I was in a state of mourning. I wondered, ‘How can I sing about this without saying his name?'”\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/IqpQEHHV6Ns'\n title='//www.youtube.com/embed/IqpQEHHV6Ns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Not Gonna Say Your Name,” a protest song that takes on the simple, layered vocals of a church hymn, is the result. Released last week, it’s available to hear online for free, of course (the “official” video, above, was made using footage sent in by protesters around the country). But if you decide to purchase it on \u003ca href=\"https://entrancelives.bandcamp.com/album/not-gonna-say-your-name\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, you get to pat yourself on the back (the song’s proceeds go directly to Planned Parenthood) \u003cem>and \u003c/em>check out the single’s sweet, clearly Sex Pistols-inspired album art while you’re at it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12714189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\" alt=\"a3433238851_16\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>“I decided to use the song to benefit PP because one of the things that is so shocking about the election result is that it sends such a negative message to women and girls,” explains Blakeslee. “It’s the least I could do — for all of the women in the world, in my life, and especially for my mother — to fight back and make a clear statement that we will not accept this backwards agenda.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ENTRANCE \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/2/4/folk-yeah-presents-bill-callahan\" target=\"_blank\" rel=\"noopener\">plays the Starline Social Club in Oakland\u003c/a> on Saturday, Feb. 4, warming up the stage for Bill Callahan. That show’s sold out, but Blakeslee comes back the Bay to play the Hemlock Tavern in April, after releasing a new full-length called \u003cem>Book of Changes. \u003c/em>He’ll probably be happy to play the song then as well, but: April! There’s truly \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">no telling what might happen\u003c/a> between then and now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: John Adams at 70, Lemon Twigs, and Comedians Resist",
"headTitle": "Cy and David’s Picks: John Adams at 70, Lemon Twigs, and Comedians Resist | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170203.mp3\u003c/p>\n\u003cp>The personal sometimes makes for powerful political art. This week, we’re featuring Aboriginal women from Australia singing in protest of efforts to stamp out their culture, and comedians worried that President Trump may order their deportation. Oh, and no Superbowl talk here — except to say go see a show instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x7E32SJYmgY\u003c/p>\n\u003cp>\u003cstrong>Feb. 7–12\u003c/strong>:\u003ca href=\"http://www.blackarmband.com.au/\" target=\"_blank\" rel=\"noopener\"> Black Arm Band\u003c/a> is a troupe of musicians and singers from Australia, doing songs from Aboriginal and Torres Strait Islander culture. They’re making three stops in the Bay Area with a show called \u003cem>Dirtsong\u003c/em>, about the Australian government’s now-discredited effort to stamp out indigenous culture through residential schools. (If you think that’s a remote concern, recall that the U.S. government tried to do the same with Native Americans.) And the music is stunning. Details for Black Arm Band’s show at Bing Concert Hall at Stanford on Feb. 7 are \u003ca href=\"https://live.stanford.edu/calendar/february-2017/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, for their show at the Mondavi Center at UC Davis on Feb. 8 \u003ca href=\"https://www.mondaviarts.org/event/2016-17/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Zellerbach Auditorium at UC Berkeley on Feb. 12 \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/black-arm-band-dirtsong.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AIp2iQvKLss\u003c/p>\n\u003cp>\u003cstrong>Feb. 3\u003c/strong>: Every President needs a few good court jesters. And Bay Area comedians have been anything but shy about mocking our new President and his policies. \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are hosting a show called \u003cem>The Resistance,\u003c/em> featuring Imran G, a Muslim American, Johan Miranda, a dreamer, Irene Tu and Luna Malbroux. I’m guessing here: there are probably no pro-Trump jesters on this bill. And it’s a \u003cstrong>Cheap Thrill! \u003c/strong>Tickets as low as $10 for an evening of comedy at the \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">New Parkway\u003c/a> in Oakland. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9ZI2hGjuHVs\u003c/p>\n\u003cp>\u003cstrong>Feb. 3–25\u003c/strong>: We’ve been featuring composers’ birthdays recently, and this month it’s all about Berkeley’s \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> turning 70, with Cal Performances and the San Francisco Symphony staging some of his most ambitious works. \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is presenting choreographer Lucinda Childs ballet,\u003cem> Light Over Water, \u003c/em>set to a 1983 electronic piece by Adams — with a set deigned by Frank Gehry and a chance to hear all three artists talk about the piece.\u003c/p>\n\u003cfigure id=\"attachment_12713412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12713412 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg\" alt=\"John Adams\" width=\"640\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1180x1465.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-960x1192.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-520x646.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380.jpg 1290w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Photo: Christine Alicino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, the SF Symphony performs \u003cem>The Gospel According to the Other Mary\u003c/em>, a gorgeous oratorio about Mary Magdalene with lyrics by Adams’ frequent collaborator Peter Sellars, and \u003cem>Sherezade 2. \u003c/em>Both are feminist works, windows into Adams politics, and a reminder that the composer of operas like \u003cem>Doctor Atomic\u003c/em> (the making of the atomic bomb) and \u003cem>Nixon in China\u003c/em> has always loved drama and big emotions. “I’ve been inspired by composers like Wagner and Verdi and Mahler,” Adams told me, “to not be afraid to create a large form which can draw the listener in. I’ve always wanted to keep that ability for power and emotional depth in my music.” Adams was associated with the minimalists like Philip Glass early in his career, but he added that “for me, it was a little bit of a sparse bread-and-water diet. And I’ve tried to use my music to probe a lot of human issues that demand a larger musical vocabulary.” Details for the Cal Performances shows are \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And learn more about the San Francisco Symphony concerts right \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sGfJYLEoPlY\u003c/p>\n\u003cp>\u003cstrong>Feb. 4–25\u003c/strong>: Flamenco is a perfect dance form for telling stories of passion. And Noche Flamenca is doing just that with its production of the ancient Greek tale \u003cem>Antigone\u003c/em>, in which the daughter of a king defies her father and the state to uphold a deeper form of justice. Artistic Director Martín Santangelo created this piece in 2010 after a Spanish Judge was suspended for his efforts to honor those who fought against Franco, allowing families to bury their relatives previously left in mass graves. We think Sophocles would enjoy this version of his story. Details for the run of the show at Z Space in San Francisco are \u003ca href=\"http://www.zspace.org/noche\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQ4nqnVOfMo\u003c/p>\n\u003cp>\u003cstrong>Feb. 4\u003c/strong>: \u003ca href=\"http://thelemontwigs.com/#\" target=\"_blank\" rel=\"noopener\">The Lemon Twigs \u003c/a>hail from somewhere on Long Island, but the band’s sound is from a country all its own. Teenaged brothers Brian and Michael D’Addorio sound a bit like the later-era Beatles, and dress and style their hair a bit like early Rod Stewart. They picked up some of their musical chops from their dad, Ronnie D’Addario, once a songwriter, session musician and producer, and added a level of charming goofiness evident in their videos. Details for their show at Brick and Mortar in San Francisco are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7009605&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and the show at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1384242-lemon-twigs-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170203.mp3\u003c/p>\n\u003cp>The personal sometimes makes for powerful political art. This week, we’re featuring Aboriginal women from Australia singing in protest of efforts to stamp out their culture, and comedians worried that President Trump may order their deportation. Oh, and no Superbowl talk here — except to say go see a show instead.\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/x7E32SJYmgY'\n title='//www.youtube.com/embed/x7E32SJYmgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 7–12\u003c/strong>:\u003ca href=\"http://www.blackarmband.com.au/\" target=\"_blank\" rel=\"noopener\"> Black Arm Band\u003c/a> is a troupe of musicians and singers from Australia, doing songs from Aboriginal and Torres Strait Islander culture. They’re making three stops in the Bay Area with a show called \u003cem>Dirtsong\u003c/em>, about the Australian government’s now-discredited effort to stamp out indigenous culture through residential schools. (If you think that’s a remote concern, recall that the U.S. government tried to do the same with Native Americans.) And the music is stunning. Details for Black Arm Band’s show at Bing Concert Hall at Stanford on Feb. 7 are \u003ca href=\"https://live.stanford.edu/calendar/february-2017/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, for their show at the Mondavi Center at UC Davis on Feb. 8 \u003ca href=\"https://www.mondaviarts.org/event/2016-17/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Zellerbach Auditorium at UC Berkeley on Feb. 12 \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/black-arm-band-dirtsong.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AIp2iQvKLss'\n title='//www.youtube.com/embed/AIp2iQvKLss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 3\u003c/strong>: Every President needs a few good court jesters. And Bay Area comedians have been anything but shy about mocking our new President and his policies. \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are hosting a show called \u003cem>The Resistance,\u003c/em> featuring Imran G, a Muslim American, Johan Miranda, a dreamer, Irene Tu and Luna Malbroux. I’m guessing here: there are probably no pro-Trump jesters on this bill. And it’s a \u003cstrong>Cheap Thrill! \u003c/strong>Tickets as low as $10 for an evening of comedy at the \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">New Parkway\u003c/a> in Oakland. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" 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/9ZI2hGjuHVs'\n title='//www.youtube.com/embed/9ZI2hGjuHVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 3–25\u003c/strong>: We’ve been featuring composers’ birthdays recently, and this month it’s all about Berkeley’s \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> turning 70, with Cal Performances and the San Francisco Symphony staging some of his most ambitious works. \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is presenting choreographer Lucinda Childs ballet,\u003cem> Light Over Water, \u003c/em>set to a 1983 electronic piece by Adams — with a set deigned by Frank Gehry and a chance to hear all three artists talk about the piece.\u003c/p>\n\u003cfigure id=\"attachment_12713412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12713412 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg\" alt=\"John Adams\" width=\"640\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1180x1465.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-960x1192.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-520x646.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380.jpg 1290w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Photo: Christine Alicino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, the SF Symphony performs \u003cem>The Gospel According to the Other Mary\u003c/em>, a gorgeous oratorio about Mary Magdalene with lyrics by Adams’ frequent collaborator Peter Sellars, and \u003cem>Sherezade 2. \u003c/em>Both are feminist works, windows into Adams politics, and a reminder that the composer of operas like \u003cem>Doctor Atomic\u003c/em> (the making of the atomic bomb) and \u003cem>Nixon in China\u003c/em> has always loved drama and big emotions. “I’ve been inspired by composers like Wagner and Verdi and Mahler,” Adams told me, “to not be afraid to create a large form which can draw the listener in. I’ve always wanted to keep that ability for power and emotional depth in my music.” Adams was associated with the minimalists like Philip Glass early in his career, but he added that “for me, it was a little bit of a sparse bread-and-water diet. And I’ve tried to use my music to probe a lot of human issues that demand a larger musical vocabulary.” Details for the Cal Performances shows are \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And learn more about the San Francisco Symphony concerts right \u003ca href=\"https://www.sfsymphony.org/johnadams\" 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/sGfJYLEoPlY'\n title='//www.youtube.com/embed/sGfJYLEoPlY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 4–25\u003c/strong>: Flamenco is a perfect dance form for telling stories of passion. And Noche Flamenca is doing just that with its production of the ancient Greek tale \u003cem>Antigone\u003c/em>, in which the daughter of a king defies her father and the state to uphold a deeper form of justice. Artistic Director Martín Santangelo created this piece in 2010 after a Spanish Judge was suspended for his efforts to honor those who fought against Franco, allowing families to bury their relatives previously left in mass graves. We think Sophocles would enjoy this version of his story. Details for the run of the show at Z Space in San Francisco are \u003ca href=\"http://www.zspace.org/noche\" 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/xQ4nqnVOfMo'\n title='//www.youtube.com/embed/xQ4nqnVOfMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 4\u003c/strong>: \u003ca href=\"http://thelemontwigs.com/#\" target=\"_blank\" rel=\"noopener\">The Lemon Twigs \u003c/a>hail from somewhere on Long Island, but the band’s sound is from a country all its own. Teenaged brothers Brian and Michael D’Addorio sound a bit like the later-era Beatles, and dress and style their hair a bit like early Rod Stewart. They picked up some of their musical chops from their dad, Ronnie D’Addario, once a songwriter, session musician and producer, and added a level of charming goofiness evident in their videos. Details for their show at Brick and Mortar in San Francisco are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7009605&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and the show at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1384242-lemon-twigs-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>[contextly_sidebar id=”dtAeu2UbJYPV0QALRZl0utkdXmZDstX2″]\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She got more than 4 million likes in just the first two hours after posting.\u003c/p>\n\u003cp>And it took just seven hours to surpass one by fellow pop star Selena Gomez that has racked up 6.3 million likes with a picture of her with a Coke bottle and her song lyrics “You’re the spark” since last summer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional photos of the pregnant superstar are posted on her website, including one of her 5-year-old daughter, Blue Ivy kissing her tummy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé has broken the record for the most-liked Instagram post ever.\u003c/p>\n\u003cp>Beyoncé announced on Instagram Wednesday that she is expecting twins with husband Jay Z.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Surrounded by flowers and clad in a sweeping green veil, Queen Bey shows off her baby bump in the Madonna-inspired photo.\u003c/p>\n\u003cblockquote class=\"instagram-media\" data-instgrm-captioned data-instgrm-version=\"7\" style=\"background:#FFF;border:0;border-radius:3px;margin: 1px;max-width:658px;padding:0;width:99.375%;width:-webkit-calc(100% - 2px);width:calc(100% - 2px)\">\n\u003cdiv style=\"padding:8px\">\n\u003cdiv style=\"background:#F8F8F8;line-height:0;margin-top:40px;padding:61.94444444444444% 0;text-align:center;width:100%\">\n\u003cdiv style=\"base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC);height:44px;margin:0 auto -44px;position:relative;top:-22px;width:44px\">\u003c/div>\n\u003c/div>\n\u003cp style=\"margin:8px 0 0 0;padding:0 4px\"> \u003ca href=\"https://www.instagram.com/p/BP-rXUGBPJa/\" style=\"color:#000;font-family:Arial,sans-serif;font-size:14px;font-style:normal;font-weight:normal;line-height:17px;text-decoration:none\" target=\"_blank\" rel=\"noopener\">We would like to share our love and happiness. We have been blessed two times over. We are incredibly grateful that our family will be growing by two, and we thank you for your well wishes. – The Carters\u003c/a>\u003c/p>\n\u003cp style=\"color:#c9c8cd;font-family:Arial,sans-serif;font-size:14px;line-height:17px;margin-bottom:0;margin-top:8px;overflow:hidden;padding:8px 0 7px;text-align:center\">A photo posted by Beyoncé (@beyonce) on Feb 1, 2017 at 10:39am PST\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>The photo won her the record for most-liked post ever, with more than 8 million likes and counting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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