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"content": "\u003cp>We revisit bright music moments from past protest movements, debate whether self-care is good or bad for us, and give props to candy-stealing Canadian squirrels and a judgmental British cat.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/02/Protest.mp3\" title=\"Fight the Power with Protest Songs and Radical Self-Care!\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>This week, KQED Music Editor \u003ca href=\"https://ww2.kqed.org/pop/author/esilvers/\">Emma Silvers\u003c/a> joins us to talk about the history of protest music and where it might go next.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_n1izbiD6Vp1qedb29o2_r1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-62101\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/tumblr_n1izbiD6Vp1qedb29o2_r1_500.gif\" alt=\"tumblr_n1izbiD6Vp1qedb29o2_r1_500\" width=\"450\" height=\"338\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We wonder whether self-care might be bad for us.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/woman-afraid-of-her-own-face-mask-in-mirror-reflection-scared-gif-animation.gif\">\u003cimg class=\"aligncenter size-full wp-image-62102\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/woman-afraid-of-her-own-face-mask-in-mirror-reflection-scared-gif-animation.gif\" alt=\"woman-afraid-of-her-own-face-mask-in-mirror-reflection-scared-gif-animation\" width=\"500\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>We get into the latest way Jon Voight has embarrassed his daughter, Angelina Jolie.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/large-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-62103\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/large-1.gif\" alt=\"large (1)\" width=\"390\" height=\"427\">\u003c/a>\u003c/p>\n\u003cp>We catch up on scary news stories from Florida.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/14161231211031.gif\">\u003cimg class=\"aligncenter size-full wp-image-62104\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/14161231211031.gif\" alt=\"14161231211031\" width=\"500\" height=\"221\">\u003c/a>\u003c/p>\n\u003cp>We give props to renegade animals from around the world, who are stealing candy and judging humans:\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\">\u003cimg class=\"aligncenter size-full wp-image-62105\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\" alt=\"giphy (6)\" width=\"400\" height=\"263\">\u003c/a>\u003c/p>\n\u003cp>And we ride out on a recitation of Llama Llama Red Pajama by Migos:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XX7JAHddY84\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
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"description": "The Tony Award-winning musical based on the famed graphic novelist's 2006 memoir opens at the newly-renovated Curran Theater in a heated political climate, but doesn't quite rise to the occasion.",
"title": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage | KQED",
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"headline": "'Fun Home' Musical Puts Alison Bechdel's Coming Out Story on Stage",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After the actors had all taken their bows to thunderous applause at the San Francisco premiere of Jeanine Tesori and Lisa Kron’s musical \u003ca href=\"https://sfcurran.com/shows/fun-home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fun Home\u003c/em>\u003c/a>, Carole Shorenstein Hays — the flamboyant theater producer and owner of the newly refurbished Curran Theater — handed a microphone to Alison Bechdel and essentially demanded that she speak.\u003c/p>\n\u003cp>Bechdel, whose 2006 autobiographical graphic novel of the same title was the basis for the evening’s entertainment, spoke graciously and with great poise both about the production and our country’s current political situation. She was brief and made no grand statements. Yet there was something about the way the 56-year old graphic novelist carried herself that was so vivid and human, it threw into relief many of the problems and tensions within Tesori and Kron’s lovely but flawed attempt to give theatrical life to Bechdel’s actual life. It rarely happens, but the real thing shone brighter than the entertainment.\u003c/p>\n\u003cp>\u003cem>Fun Home\u003c/em> is an ambitiously structured drama, taking on the stories of three versions of “Alison” all at once: the child who intuits her father Bruce’s sexual preferences and finds secret solace with him; the young adult desperately in need of her family to recognize that she has, in coming out, become a fuller, slightly different version of herself; and the mature graphic novelist struggling to give shape to her father’s sudden suicide at 44.\u003c/p>\n\u003cp>Memory plays are a notoriously difficult genre, and \u003cem>Fun Home\u003c/em> loses shape and focus every time the adult Alison takes the lead. There’s just not much for her to do except comment on the action. Worse, this unbalances and undercuts the force of the other two narratives, sometimes in trite ways.\u003c/p>\n\u003cfigure id=\"attachment_12703978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg\" alt=\"Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/03funhometour1012r-1-e1485894052175-520x296.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Small Alison (Alessandra Baldacchino) and her father Bruce share one of many moments of harmony in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a wrenching moment in which Bruce desperately tries to impress a member of the Allegheny Historical Society with the restoration of his Victorian house and the picture-book perfection of his family, the adult Alison says, “And he was gay. And I was gay. And he killed himself. And I… became a lesbian cartoonist.” The narratorial distance might work as a caption in a graphic novel. But on stage it comes off as a diminishment of actual pain. It turns suicide into a snappy one-liner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This tension between commentary and drama is not just a problem of the narration, but also present between Tesori’s music and Kron’s book. Kron is a fascinating writer, capable of taking unpromising dramatic ideas and weaving them into powerful, if lopsided, plays. (Her satisfying \u003cem>In the Wake\u003c/em> premiered at the Berkeley Repertory Theatre in 2010). Yet Tesori’s songs are often an incomplete realization of the complexity of Kron’s tougher, sharper artistic instincts.\u003c/p>\n\u003cp>There’s a brutal scene in which Bruce seduces his children’s babysitter and family handyman, Roy, while Alison’s mother Helen plays the piano in the next room. When Roy hesitates, Bruce snaps, “Don’t worry about her.” It’s a cutting line and a slick setup. Tesori’s music (“Helen’s Étude”) starts off in a promising manner, as Bruce and Helen sing in counterpoint. But at a little more than a minute and with the intrusion of Roy’s rather pedestrian observations and voice (“I know this type, this type of married guy”) the song is more of an explanation than a deepening of what has become a savage familial situation.\u003c/p>\n\u003cfigure id=\"attachment_12703976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg\" alt=\"Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/09funhometour0126r-e1485893592986-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Medium Alison (Abby Corrigan) is flummoxed around the out and knowing Joan (Karen Eilbacher) in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that this is beyond Tesori’s abilities. The lovely post-coital ode “Changing My Major” takes a beautiful stage image — Alison admiring her first girlfriend Joan’s sleeping body — and lets us revel in her sexual awakening and the joy and love that it inspires. As with the best of musical theater, you want to stay in the moment and song forever.\u003c/p>\n\u003cp>Yet most of best scenes occur when the piece is less of a musical, and more of a play with bits and pieces of music woven though it — a trip to New York where Bruce sings Alison to sleep and then slips away to hunt for anonymous sex; an impromptu father-daughter concert of goofy songs during a visit home; and a car ride where Bruce offers to take Alison to a bar where “folks like, you know…” but can’t finish his thought when she reminds him that she’s not 21. Instead of show-stopping numbers that often feel like expressions of strength, here the music catches just how fragile family ties can be.\u003c/p>\n\u003cfigure id=\"attachment_12703974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12703974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg\" alt=\"Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in 'Fun Home' at the Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/10funhometour0153r-e1485893236516-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alison (Kate Shindle) and her father Bruce (Robert Petkoff) take a drive to try to talk in ‘Fun Home’ at the Curran Theater. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fun Home\u003c/em> has become a beloved piece — it won five Tony Awards — and when it succeeds you can understand why. We have so much to lose when parents die, when the mirror of family is wrested away and there is no one left to reflect the future for us. There are, sadly, some echoes in the work of the present political moment. On opening night in San Francisco, you could feel the audience embrace them: what does it mean to lose a world, even if it was an imperfect one?\u003c/p>\n\u003cp>That’s all to the good. But I think the piece misplays its strengths. Tesori’s music is tidy where it should be a fiery mess, and the traces of Broadway conventions (a reliance on pop pastiche and crowd-pleasing numbers) mute Kron’s shifty writing. And that brings us back to Bechdel. Drafted to speak at a moment of high drama, she was simply present, which is a gift that \u003cem>Fun Home\u003c/em> the musical only intermittently rises to and achieves. Still, sometimes the imperfect is more than enough.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Fun Home’ runs through Sunday, Feb. 19 at the Curran Theater in San Francisco. For tickets and information, \u003ca href=\"https://sfcurran.com/shows/fun-home/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Four days after its signing, President Donald Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive action\u003c/a> that temporarily bans travel from citizens of seven countries continues to make waves. While \u003ca href=\"https://poll.qu.edu/national/release-detail?ReleaseID=2423\" target=\"_blank\" rel=\"noopener\">at least one poll\u003c/a> shows slightly more public support than opposition for the president’s policy, American and British musicians — including \u003ca href=\"http://www.nydailynews.com/entertainment/john-legend-speaks-president-trump-muslim-ban-article-1.2959016\" target=\"_blank\" rel=\"noopener\">John Legend\u003c/a>, \u003ca href=\"http://www.factmag.com/2017/01/29/grimes-gives-10000-to-muslim-civil-rights-group-sia-aclu/\" target=\"_blank\" rel=\"noopener\">Grimes\u003c/a>, \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/news/queens-of-the-stone-age-us-president-donald-trump-instagram-fascist-clown-penis-a7554561.html\" target=\"_blank\" rel=\"noopener\">Queens of the Stone Age\u003c/a>, and \u003ca href=\"https://allhiphop.com/2017/01/31/nicki-minaj-responds-donald-trumps-muslim-ban-executive-order/\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> — have criticized the order.\u003c/p>\n\u003cp>Electronic producer Four Tet, a.k.a. Kieran Hebden, took a more subtle approach. The influential DJ updated his \u003ca href=\"https://open.spotify.com/user/k_hebden/playlist/2uzbATYxs9V8YQi5lf89WG\" target=\"_blank\" rel=\"noopener\">28-hour, ever-growing Spotify playlist\u003c/a> with artists with roots in countries affected by the travel and immigration order, which encompasses Iran, Iraq, Sudan, Somalia, Syria, Libya and Yemen.\u003c/p>\n\u003cp>Hebden’s list includes Baghdad-borne oud player \u003ca href=\"http://www.npr.org/event/music/452560735/rahim-alhaj-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Rahim Al-Haj\u003c/a>, who \u003ca href=\"http://www.bbc.co.uk/blogs/talkingamerica/2008/09/oud_awakening.html\">was tortured\u003c/a> by Saddam Hussein’s regime before becoming an American citizen; Iranian artists including singer Simin Ghanem, Iranian singer and songwriter Martik Kanian and guitarist Kourosh Yaghmaei; and Somalian artist Hasan Adan Samatar who \u003ca href=\"http://www.hiiraan.com/comments2-news-2010-aug-samatar_gets_lifetime_achievement_award.aspx\">was given\u003c/a> a lifetime achievement award from the Somali community in Minneapolis in 2010 — among many others.\u003c/p>\n\u003cp>“It’s basically a place for me to share things I’m listening to, and is becoming a good personal archive of music I’ve enjoyed,” he told NPR Music. “I think the rise of fascism is deeply disturbing.”\u003c/p>\n\u003cp>The list also includes \u003ca href=\"http://www.npr.org/event/music/236237098/omar-souleyman-live-in-concert\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a>, a Syrian singer who collaborated with Hebden in Brooklyn several years ago. That collaboration “not being allowed anymore got me thinking about it,” \u003ca href=\"https://twitter.com/FourTet/status/826113997355307011\" target=\"_blank\" rel=\"noopener\">Hebden tweeted\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>[Ed. Note: Only recent entries in Hebden’s playlist come from countries affected by the ban; later artists like the Impressions, Albert Ayler and Mariah Carey fall under his “personal archive of music I’ve enjoyed.”]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://open.spotify.com/embed/user/k_hebden/playlist/2uzbATYxs9V8YQi5lf89WG\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Four+Tet+Shares+Playlist+Of+Artists+From+Countries+Affected+By+Immigration+Order&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Four days after its signing, President Donald Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive action\u003c/a> that temporarily bans travel from citizens of seven countries continues to make waves. While \u003ca href=\"https://poll.qu.edu/national/release-detail?ReleaseID=2423\" target=\"_blank\" rel=\"noopener\">at least one poll\u003c/a> shows slightly more public support than opposition for the president’s policy, American and British musicians — including \u003ca href=\"http://www.nydailynews.com/entertainment/john-legend-speaks-president-trump-muslim-ban-article-1.2959016\" target=\"_blank\" rel=\"noopener\">John Legend\u003c/a>, \u003ca href=\"http://www.factmag.com/2017/01/29/grimes-gives-10000-to-muslim-civil-rights-group-sia-aclu/\" target=\"_blank\" rel=\"noopener\">Grimes\u003c/a>, \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/news/queens-of-the-stone-age-us-president-donald-trump-instagram-fascist-clown-penis-a7554561.html\" target=\"_blank\" rel=\"noopener\">Queens of the Stone Age\u003c/a>, and \u003ca href=\"https://allhiphop.com/2017/01/31/nicki-minaj-responds-donald-trumps-muslim-ban-executive-order/\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> — have criticized the order.\u003c/p>\n\u003cp>Electronic producer Four Tet, a.k.a. Kieran Hebden, took a more subtle approach. The influential DJ updated his \u003ca href=\"https://open.spotify.com/user/k_hebden/playlist/2uzbATYxs9V8YQi5lf89WG\" target=\"_blank\" rel=\"noopener\">28-hour, ever-growing Spotify playlist\u003c/a> with artists with roots in countries affected by the travel and immigration order, which encompasses Iran, Iraq, Sudan, Somalia, Syria, Libya and Yemen.\u003c/p>\n\u003cp>Hebden’s list includes Baghdad-borne oud player \u003ca href=\"http://www.npr.org/event/music/452560735/rahim-alhaj-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Rahim Al-Haj\u003c/a>, who \u003ca href=\"http://www.bbc.co.uk/blogs/talkingamerica/2008/09/oud_awakening.html\">was tortured\u003c/a> by Saddam Hussein’s regime before becoming an American citizen; Iranian artists including singer Simin Ghanem, Iranian singer and songwriter Martik Kanian and guitarist Kourosh Yaghmaei; and Somalian artist Hasan Adan Samatar who \u003ca href=\"http://www.hiiraan.com/comments2-news-2010-aug-samatar_gets_lifetime_achievement_award.aspx\">was given\u003c/a> a lifetime achievement award from the Somali community in Minneapolis in 2010 — among many others.\u003c/p>\n\u003cp>“It’s basically a place for me to share things I’m listening to, and is becoming a good personal archive of music I’ve enjoyed,” he told NPR Music. “I think the rise of fascism is deeply disturbing.”\u003c/p>\n\u003cp>The list also includes \u003ca href=\"http://www.npr.org/event/music/236237098/omar-souleyman-live-in-concert\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a>, a Syrian singer who collaborated with Hebden in Brooklyn several years ago. That collaboration “not being allowed anymore got me thinking about it,” \u003ca href=\"https://twitter.com/FourTet/status/826113997355307011\" target=\"_blank\" rel=\"noopener\">Hebden tweeted\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://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 band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SbjKCKnYjFg\u003c/p>\n\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For children’s hip-hop group the \u003ca href=\"http://alphabetrockers.com/\" target=\"_blank\" rel=\"noopener\">Alphabet Rockers\u003c/a>, 2017 is the year to get real.\u003c/p>\n\u003cp>\u003ca href=\"https://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 band’s two main songwriters, Kaitlin McGaw and Tommy Shepherd, have worked together since 2008, releasing three albums of children’s songs with traditional subjects like eating right, going to school and learning the alphabet. This year, their release \u003ci>Playground Zone\u003c/i> (featuring the single “Player’s Life”) was included on the Association for Library Service to Children’s \u003ca href=\"http://www.ala.org/alsc/awardsgrants/notalists/ncr\" target=\"_blank\" rel=\"noopener\">2017 list of notable recordings\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/SbjKCKnYjFg'\n title='//www.youtube.com/embed/SbjKCKnYjFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last summer — when it looked like Hillary Clinton would be president — McGaw and Shepherd decided to work on an album of deeper topics, such as bias and inclusivity. The artists hoped the new release would help answer certain questions, like “Are parents ready to talk to their kids about skin color and the world around them?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Is childhood about protecting our kids?” McGaw says. “Or is it allowing them to imagine the influence they can have on the world?”\u003c/p>\n\u003cp>After the election of Donald Trump, McGaw and Shepherd’s mission went from asking questions to providing opportunities and tools for family conversations around social issues. At their December show at Berkeley’s Freight and Salvage, the artists unveiled two new songs, both of which are about embracing diversity and fighting prejudice.\u003c/p>\n\u003cp>“I have a dream / I have a dream / Yes I float like a butterfly and sting like a bee,” go the lyrics to one of the songs, “Rise,” which draws inspiration from Muhammad Ali, Maya Angelou, Martin Luther King, Jr., and other notable figures. \u003c/p>\n\u003cp>“We wanted to frame our show around the fact you the have the opportunity to look around and be seen for who you are,” McGaw says. “For us to know your name, and that it comes from a beautiful place.”\u003c/p>\n\u003cp>Here are the full lyrics for “Rise” by the Alphabet Rockers (Kaitlin McGaw, Tommy Shepherd):\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003cbr>\n\u003cem> Whatever it is we got to keep it moving\u003c/em>\u003c/p>\n\u003cp>\u003cem>I have a dream\u003c/em>\u003cbr>\n\u003cem> I have a dream\u003c/em>\u003cbr>\n\u003cem> Yes I float like a butterfly and sting like a bee —\u003c/em>\u003cbr>\n\u003cem> Gonna be the change in the world that we gotta see…\u003c/em>\u003cbr>\n\u003cem> Yes I fall down, time and time again I Fall down time and time again I fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>But still – I – rise\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>You may get me with your words\u003c/em>\u003cbr>\n\u003cem> You may cut me with your eyes\u003c/em>\u003cbr>\n\u003cem> You may hurt me with your hatefulness\u003c/em>\u003cbr>\n\u003cem> Nonetheless just like air still I rise\u003c/em>\u003c/p>\n\u003cp>\u003cem>Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003cbr>\n\u003cem> Rise –\u003c/em>\u003c/p>\n\u003cp>\u003cem>People say amazing things\u003c/em>\u003cbr>\n\u003cem> People do amazing things\u003c/em>\u003cbr>\n\u003cem> People are amazing beings\u003c/em>\u003cbr>\n\u003cem> You are what amazing is\u003c/em>\u003c/p>\n\u003cp>\u003cem>POEM – Tatyana Fazlalizadeh\u003c/em>\u003cbr>\n\u003cem> America is black\u003c/em>\u003cbr>\n\u003cem> It is native\u003c/em>\u003cbr>\n\u003cem> It wears a hijab\u003c/em>\u003cbr>\n\u003cem> It is a Spanish speaking tongue\u003c/em>\u003cbr>\n\u003cem> It is migrant\u003c/em>\u003cbr>\n\u003cem> It is a woman\u003c/em>\u003cbr>\n\u003cem> It is here — has been here\u003c/em>\u003cbr>\n\u003cem> And it’s not going anywhere\u003c/em>\u003c/p>\n\u003cp>\u003cem>YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003cbr>\n\u003cem> YOU ARE HERE TO LIVE THAT LIFE\u003c/em>\u003cbr>\n\u003cem> DREAM HIGH – DREAM WITH ALL YOUR MIGHT\u003c/em>\u003cbr>\n\u003cem> CUZ YOU ARE BORN TO TOUCH THE SKY\u003c/em>\u003c/p>\n\u003cp>\u003cem>If they call us bad names – look them in the eye\u003c/em>\u003cbr>\n\u003cem> If they push us down – be a true ally\u003c/em>\u003cbr>\n\u003cem> If they try to build a wall, we won’t comply\u003c/em>\u003cbr>\n\u003cem> Cuz when they go low — we go high\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you can’t fly, what can you do? RUN\u003c/em>\u003cbr>\n\u003cem> If you can’t run, what can you do? WALK\u003c/em>\u003cbr>\n\u003cem> If you can’t walk, what can you do? CRAWL\u003c/em>\u003cbr>\n\u003cem> If you can’t crawl what can you do? ROLL\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Alphabet Rockers\u003c/b> play Ashkenaz in Berkeley on Sunday, Feb. 26 at 3pm. Tickets are $8. For more information, \u003ca href=\"https://www.eventbrite.com/e/alphabet-rockers-tickets-31165699446?ref=ebtnebtckt\" target=\"_blank\" rel=\"noopener\">visit the event page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music: Youth Is Served With New Maturity From Syd, Cherry Glazerr and Ty Segall",
"title": "Pop Music: Youth Is Served With New Maturity From Syd, Cherry Glazerr and Ty Segall",
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"content": "\u003cp>\u003cem>Don't trust anyone over 30? Our three featured albums this month come from artists who are younger than that -- one still not even 20 -- but all accomplished veterans of their respective scenes, and all emerging with works of remarkable focus and vision.\u003c/em>\u003c/p>\n\u003ch2>Syd\u003c/h2>\n\u003cp>Sydney Bennett, known as Syd tha Kyd in her work with the \u003ca href=\"http://www.oddfuture.com\">Odd Future\u003c/a> collective and co-fronting the atmospheric-soul syndicate \u003ca href=\"http://www.internet-band.com\">the Internet\u003c/a>, has jettisoned that label of youth for her solo debut, \u003ca href=\"http://smarturl.it/FINalbum\">“Fin.”\u003c/a> Now, with her solo debut she is just simply \u003ca href=\"https://www.internetsyd.com/\">Syd\u003c/a>, as if she’d shed her skin and is moving on to something new.\u003c/p>\n\u003cp>Well, the opening song is titled “Shake Em Off,” and is all about being able to move forward, to get rid of excessive baggage — emotional baggage, of course, but also a sense of being open to new possibilities, to ignore limitations. That’s right down to the music on the track, produced by Fontana hip-hopper Hitboy, with its sense of confident focus, pared down to impactful minimalism, her delivery of her affirmation clear and sharp and uncomplicated. It’s not the only little bit of advice she has, as she sings “Smile More” with a hopeful tone to a lover, and perhaps to herself — a bit different and far more sensual context than the same advice given by Burr to Hamilton in the Broadway sensation.\u003c/p>\n\u003cp>That doesn't mean this is simple, not in any way. Working with a roster of producers including Internet guitarist Steve Lacy on some tracks and hazebanga (whose credits go from M.I.A. to Mariah Carey and Selena Gomez) on a couple, as well as producing three herself, she shows an impressive sense of art in the use of sound and space, building solidly on the Odd Future and Internet approaches. Connecting with the latter, this is being released concurrently with Internet partner Matt Martians’ album “The Drum Chord Theory,” and the two will be doing a joint tour. Even her voice is used with distinctive subtlety, often conversational but soaring with precise flights when she wishes, when it’s most effective.\u003c/p>\n\u003cp>And throughout there is a sense of promise in a young artist discovering her own talents, searching possibilities. One of the singles released ahead of the album puts that right in the title, the hip-hop/soul twitch “All About Me.” Based on what is heard here, we look forward to learning just that. She seems to be learning, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNIOrsxsa0A\u003c/p>\n\u003ch2>Cherry Glazerr\u003c/h2>\n\u003cp>On arrival a few years ago, the then-teenaged L.A. trio \u003ca href=\"http://cherry-glazerr.com\">Cherry Glazerr\u003c/a> announced its sense of whimsy with its very name, an homage of sorts to L.A. public radio morning host \u003ca href=\"http://curious.kcrw.com/2014/02/radio-host-chery-glaser-interviews-the-band-cherry-glazerr\">Chery Glaser\u003c/a>. There’s still plenty of whimsy with this third album — it’s titled “Apocalipstick,” after all, but here the band announces that it, unlike many others, fully understands that whimsy and irony are not the same thing and that whimsy and depth can do more than just coexist, but strengthen each other. And founder-front person Clementine Creevy — now complemented by two new members in drummer Tabor Allen and multi-instrumentalist Sasami Ashworth — is still not yet 20.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11289469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg\" alt=\"Cherry Glazerr\" width=\"301\" height=\"301\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut.jpg 1600w\" sizes=\"(max-width: 301px) 100vw, 301px\"> Opener “Told You I’d Be With the Guys” is an inside-out reach for solidarity with other women, echoed in the song’s sound, built on a kickoff guitar lick that consciously or otherwise evokes “Last Splash” by the Breeders, a notable ‘90s female-centric band. Guided by veteran producers Joe Chicarrelli and Carlos De La Garza, the trio brings brightness to the sound, punchy and powerful, but also loaded with hooks that call to mind not just the Breeders, but other similar vintage acts ranging from the Cure to Jane’s Addiction, Creevy able to shriek like Perry Farrell or coo like Debbie Harry, the swings maximizing the impact.\u003c/p>\n\u003cp>For all of that, at root this is still your basic rock trio of guitar, bass and drums, moving from the metal wallop of “Moon Dust” to the compelling punk-surf waves of “Humble Pro” (which itself breaks into melodic choruses before returning to crash-bang mode) to the more subdued, somber “Nuclear Bomb.” Later, “Sip O’ Poison” gallops away from — or perhaps it’s toward — dread in a dense clip-clop as Creevy’s guitar trades distorted solos with a tinny synthesizer.\u003c/p>\n\u003cp>And then there’s another title that catches the eye: “Nurse Ratched,” a tribute to the complicated, monstrous, manipulative nurse of “One Flew Over the Cuckoo’s Nest.” Is it a condemnation? Is it a tribute? “You’re so cold master, where do I begin?” Creevy sings, later adding, “She’s a wild one in the land that’s supposedly free.” Maybe not so much whimsy here, but ambiguity at its best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFgz9aiiZlQ\u003c/p>\n\u003ch2>Ty Segall\u003c/h2>\n\u003cp>\u003ca href=\"http://ty-segall.com\">Ty Segall\u003c/a>’s riffed-up, revved-up guitar-rock song “Thank You Mr. K” stops for a second midway through, and then there’s a crash, like a chandelier flung down a sweeping staircase, before the musical fury resumes. Well, it’s not fine crystal. As you can \u003ca href=\"https://vimeo.com/188364924\">see in a video\u003c/a> on Segall’s web site, it’s really a toilet being smashed to bits. But those two contrasting images make for a pretty good description of what Segall offers on the latest of his many and frequent projects.\u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Segall-800x568.jpg\" alt=\"Segall\" width=\"800\" height=\"568\" class=\"aligncenter size-medium wp-image-11299603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Glory and irreverence do battle throughout the album, titled simply “Ty Segall,” in classic glam-rock fashion -- and this is perhaps the most glam, and most focused, of the Southern Californian’s catalog, in which he has moved readily from rock to metal to folky musings, often in the course of one album.\u003c/p>\n\u003cp>So in that sense it’s noteworthy and fitting that he’s recycled the simple, focused title of his first ultra-indie release from 2008, bespeaking that sense of renewed purpose, if not a truly cleaned slate. Of course, that might also be tongue-in-cheek (not unusual for him) in that where he often works in the studio as a one-man band, here he’s focused on guitar and vocals in league with a full group, accompanied by longtime co-conspirator Mikal Cronin on bass, Emmet Kelly on guitar, Charles Moothart on drums and Ben Boye on keyboards.\u003c/p>\n\u003cp>Relatively short and crisp is the dominant mode, opener “Break a Guitar” coming off as T. Rex (a long-time Segall fave) jamming with Neil Young (another hero). “Freedom,” just two minutes long, is a classic anglophilic shuffle. There is contrast: “Orange Color Queen” slows it down for an acoustic turn, while “Warm Hands (Freedom Returned)” plays off the opener with an extended excursion stretching more than 10 minutes, and giving the band plenty of time to work through ranges of styles. Another contrast brings it all together, with closing “Take Care (To Comb Your Hair)” reaching back to ‘60s Merseyside and ‘70s power-pop for a catchy ditty. Though…. technically it’s not the closer. Never one to let a mood stand or a conclusion really be a conclusion, right after that song ends comes “Untitled,” listed at a full 13 seconds (yes, seconds) but really just a four-Mississippi burst of two quick beats). Don’t be surprised if Segall’s next album \u003ci>starts\u003c/i> that way. Of course, at the rate he puts things out, we may have to wait just a few weeks for that one.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/293028117\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003ch2>Bonus Track: \u003ca href=\"http://www.fatherjohnmisty.com\">Father John Misty\u003c/a>, “Pure Comedy” single\u003c/h2>\n\u003cp>And here, in a single previewing the upcoming album of the same title, we have the mercurial Mr. Misty channeling his inner Randy Newman (and a bit of John Lennon to boot) into timely, sardonic, unsparing topicality.\u003c/p>\n\u003cp>“Ladies, I hope we don’t end up regretting this,” he sings over a piano-centric arrangement in a song of fear about bringing children into this world — not a new concept, but perhaps a renewed one. In the accompanying video, our government is seen in places like something from a line-drawn Bosch hell-scape, countered here and there by images of children and animals, as well as some protests, for at least a slight glimmer of hope.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wKrSYgirAhc\u003c/p>\n\u003cp>But that is hard-won and fleeting, as he finds plenty of targets at which to aim his disgust and despair, almost resignedly reaching the conclusion of the final line, as we see the Earth, photographed from space: “I hate to say it, but each other’s all we got.” Sounds like Father John is having something of a crisis of faith.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, there’s a sense of urgency to this, at least in its timing, a sense that he needs to say this right now. If that is something that carries throughout the album, it could be a masterpiece.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Don't trust anyone over 30? Our three featured albums this month come from artists who are younger than that -- one still not even 20 -- but all accomplished veterans of their respective scenes, and all emerging with works of remarkable focus and vision.\u003c/em>\u003c/p>\n\u003ch2>Syd\u003c/h2>\n\u003cp>Sydney Bennett, known as Syd tha Kyd in her work with the \u003ca href=\"http://www.oddfuture.com\">Odd Future\u003c/a> collective and co-fronting the atmospheric-soul syndicate \u003ca href=\"http://www.internet-band.com\">the Internet\u003c/a>, has jettisoned that label of youth for her solo debut, \u003ca href=\"http://smarturl.it/FINalbum\">“Fin.”\u003c/a> Now, with her solo debut she is just simply \u003ca href=\"https://www.internetsyd.com/\">Syd\u003c/a>, as if she’d shed her skin and is moving on to something new.\u003c/p>\n\u003cp>Well, the opening song is titled “Shake Em Off,” and is all about being able to move forward, to get rid of excessive baggage — emotional baggage, of course, but also a sense of being open to new possibilities, to ignore limitations. That’s right down to the music on the track, produced by Fontana hip-hopper Hitboy, with its sense of confident focus, pared down to impactful minimalism, her delivery of her affirmation clear and sharp and uncomplicated. It’s not the only little bit of advice she has, as she sings “Smile More” with a hopeful tone to a lover, and perhaps to herself — a bit different and far more sensual context than the same advice given by Burr to Hamilton in the Broadway sensation.\u003c/p>\n\u003cp>That doesn't mean this is simple, not in any way. Working with a roster of producers including Internet guitarist Steve Lacy on some tracks and hazebanga (whose credits go from M.I.A. to Mariah Carey and Selena Gomez) on a couple, as well as producing three herself, she shows an impressive sense of art in the use of sound and space, building solidly on the Odd Future and Internet approaches. Connecting with the latter, this is being released concurrently with Internet partner Matt Martians’ album “The Drum Chord Theory,” and the two will be doing a joint tour. Even her voice is used with distinctive subtlety, often conversational but soaring with precise flights when she wishes, when it’s most effective.\u003c/p>\n\u003cp>And throughout there is a sense of promise in a young artist discovering her own talents, searching possibilities. One of the singles released ahead of the album puts that right in the title, the hip-hop/soul twitch “All About Me.” Based on what is heard here, we look forward to learning just that. She seems to be learning, too.\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/ZNIOrsxsa0A'\n title='//www.youtube.com/embed/ZNIOrsxsa0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Cherry Glazerr\u003c/h2>\n\u003cp>On arrival a few years ago, the then-teenaged L.A. trio \u003ca href=\"http://cherry-glazerr.com\">Cherry Glazerr\u003c/a> announced its sense of whimsy with its very name, an homage of sorts to L.A. public radio morning host \u003ca href=\"http://curious.kcrw.com/2014/02/radio-host-chery-glaser-interviews-the-band-cherry-glazerr\">Chery Glaser\u003c/a>. There’s still plenty of whimsy with this third album — it’s titled “Apocalipstick,” after all, but here the band announces that it, unlike many others, fully understands that whimsy and irony are not the same thing and that whimsy and depth can do more than just coexist, but strengthen each other. And founder-front person Clementine Creevy — now complemented by two new members in drummer Tabor Allen and multi-instrumentalist Sasami Ashworth — is still not yet 20.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11289469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg\" alt=\"Cherry Glazerr\" width=\"301\" height=\"301\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut.jpg 1600w\" sizes=\"(max-width: 301px) 100vw, 301px\"> Opener “Told You I’d Be With the Guys” is an inside-out reach for solidarity with other women, echoed in the song’s sound, built on a kickoff guitar lick that consciously or otherwise evokes “Last Splash” by the Breeders, a notable ‘90s female-centric band. Guided by veteran producers Joe Chicarrelli and Carlos De La Garza, the trio brings brightness to the sound, punchy and powerful, but also loaded with hooks that call to mind not just the Breeders, but other similar vintage acts ranging from the Cure to Jane’s Addiction, Creevy able to shriek like Perry Farrell or coo like Debbie Harry, the swings maximizing the impact.\u003c/p>\n\u003cp>For all of that, at root this is still your basic rock trio of guitar, bass and drums, moving from the metal wallop of “Moon Dust” to the compelling punk-surf waves of “Humble Pro” (which itself breaks into melodic choruses before returning to crash-bang mode) to the more subdued, somber “Nuclear Bomb.” Later, “Sip O’ Poison” gallops away from — or perhaps it’s toward — dread in a dense clip-clop as Creevy’s guitar trades distorted solos with a tinny synthesizer.\u003c/p>\n\u003cp>And then there’s another title that catches the eye: “Nurse Ratched,” a tribute to the complicated, monstrous, manipulative nurse of “One Flew Over the Cuckoo’s Nest.” Is it a condemnation? Is it a tribute? “You’re so cold master, where do I begin?” Creevy sings, later adding, “She’s a wild one in the land that’s supposedly free.” Maybe not so much whimsy here, but ambiguity at its best.\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/GFgz9aiiZlQ'\n title='//www.youtube.com/embed/GFgz9aiiZlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ty Segall\u003c/h2>\n\u003cp>\u003ca href=\"http://ty-segall.com\">Ty Segall\u003c/a>’s riffed-up, revved-up guitar-rock song “Thank You Mr. K” stops for a second midway through, and then there’s a crash, like a chandelier flung down a sweeping staircase, before the musical fury resumes. Well, it’s not fine crystal. As you can \u003ca href=\"https://vimeo.com/188364924\">see in a video\u003c/a> on Segall’s web site, it’s really a toilet being smashed to bits. But those two contrasting images make for a pretty good description of what Segall offers on the latest of his many and frequent projects.\u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Segall-800x568.jpg\" alt=\"Segall\" width=\"800\" height=\"568\" class=\"aligncenter size-medium wp-image-11299603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Glory and irreverence do battle throughout the album, titled simply “Ty Segall,” in classic glam-rock fashion -- and this is perhaps the most glam, and most focused, of the Southern Californian’s catalog, in which he has moved readily from rock to metal to folky musings, often in the course of one album.\u003c/p>\n\u003cp>So in that sense it’s noteworthy and fitting that he’s recycled the simple, focused title of his first ultra-indie release from 2008, bespeaking that sense of renewed purpose, if not a truly cleaned slate. Of course, that might also be tongue-in-cheek (not unusual for him) in that where he often works in the studio as a one-man band, here he’s focused on guitar and vocals in league with a full group, accompanied by longtime co-conspirator Mikal Cronin on bass, Emmet Kelly on guitar, Charles Moothart on drums and Ben Boye on keyboards.\u003c/p>\n\u003cp>Relatively short and crisp is the dominant mode, opener “Break a Guitar” coming off as T. Rex (a long-time Segall fave) jamming with Neil Young (another hero). “Freedom,” just two minutes long, is a classic anglophilic shuffle. There is contrast: “Orange Color Queen” slows it down for an acoustic turn, while “Warm Hands (Freedom Returned)” plays off the opener with an extended excursion stretching more than 10 minutes, and giving the band plenty of time to work through ranges of styles. Another contrast brings it all together, with closing “Take Care (To Comb Your Hair)” reaching back to ‘60s Merseyside and ‘70s power-pop for a catchy ditty. Though…. technically it’s not the closer. Never one to let a mood stand or a conclusion really be a conclusion, right after that song ends comes “Untitled,” listed at a full 13 seconds (yes, seconds) but really just a four-Mississippi burst of two quick beats). Don’t be surprised if Segall’s next album \u003ci>starts\u003c/i> that way. Of course, at the rate he puts things out, we may have to wait just a few weeks for that one.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/293028117&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/293028117'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Bonus Track: \u003ca href=\"http://www.fatherjohnmisty.com\">Father John Misty\u003c/a>, “Pure Comedy” single\u003c/h2>\n\u003cp>And here, in a single previewing the upcoming album of the same title, we have the mercurial Mr. Misty channeling his inner Randy Newman (and a bit of John Lennon to boot) into timely, sardonic, unsparing topicality.\u003c/p>\n\u003cp>“Ladies, I hope we don’t end up regretting this,” he sings over a piano-centric arrangement in a song of fear about bringing children into this world — not a new concept, but perhaps a renewed one. In the accompanying video, our government is seen in places like something from a line-drawn Bosch hell-scape, countered here and there by images of children and animals, as well as some protests, for at least a slight glimmer of hope.\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/wKrSYgirAhc'\n title='//www.youtube.com/embed/wKrSYgirAhc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that is hard-won and fleeting, as he finds plenty of targets at which to aim his disgust and despair, almost resignedly reaching the conclusion of the final line, as we see the Earth, photographed from space: “I hate to say it, but each other’s all we got.” Sounds like Father John is having something of a crisis of faith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, there’s a sense of urgency to this, at least in its timing, a sense that he needs to say this right now. If that is something that carries throughout the album, it could be a masterpiece.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Soltron’s activism is what Talib Kweli once called “the beautiful struggle”: a mix of political determination and feel-good party music.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band music influences come from Cuba, Brazil, Central America — but their life in the Mission District of San Francisco informs their music, which, since the group’s formation in 2014, has stood against gentrification and colonization. Now, their message has become global.\u003c/p>\n\u003cp>“This band has been political from the onset, but we were just focused on our immediate community of San Francisco, in the Mission,” says music director and Electronic Wind Instrument (EWI) player Daniel Riera. “But I see now that we have to expand our focus and look at what’s happening in this nation, and the world too. Because Trump is not just impactful for the United States, but for the whole entire world.”\u003c/p>\n\u003cp>Soltron is:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Adriana Marrero, vocals; Roque Baron, vocals and MC; Daniel Riera, EWI and flute; Christian Navarro, trumpet; Ruben Sandoval, trombone; Manolo Davila, guitar; Remi Spiro, timbales and chekere; Arturo Blanco, drum kit; Ahkeel Mestayer, congas and pads, and former members Anthony Sierra, congas; Kai Lyons, bass; and Noah Rosen, tenor sax.\u003c/p>\n\u003cdiv class=\"_4tdt _ua1\">\u003c/div>\n\n",
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"excerpt": "What better way to resist, argues San Francisco band Soltron, \"than by creating beautiful art that moves people? That's a pathway to opening up their hearts more.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soltron’s activism is what Talib Kweli once called “the beautiful struggle”: a mix of political determination and feel-good party music.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The band music influences come from Cuba, Brazil, Central America — but their life in the Mission District of San Francisco informs their music, which, since the group’s formation in 2014, has stood against gentrification and colonization. Now, their message has become global.\u003c/p>\n\u003cp>“This band has been political from the onset, but we were just focused on our immediate community of San Francisco, in the Mission,” says music director and Electronic Wind Instrument (EWI) player Daniel Riera. “But I see now that we have to expand our focus and look at what’s happening in this nation, and the world too. Because Trump is not just impactful for the United States, but for the whole entire world.”\u003c/p>\n\u003cp>Soltron is:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of music from Bay Area artists to watch in 2017.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Artists_to_Watch_2017.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Our first mixtape of 2017 is our annual survey of some of the best new and emerging San Francisco Bay Area performers to watch over the coming year. The 14 up-and-coming local acts showcased in this mix come from a wide variety of genres, and whether it’s the experimental hip-hop of \u003cstrong>\u003ca href=\"https://soundcloud.com/siribo510\">Siri\u003c/a>\u003c/strong>, \u003cstrong>\u003ca href=\"https://silvershadows1.bandcamp.com/\">Silver Shadows\u003c/a>\u003c/strong>’ sci-fi-inspired post-punk or the heavy psych of \u003cstrong>\u003ca href=\"https://www.facebook.com/Feral-Ohms-249033581811919/\">Feral Ohms\u003c/a>\u003c/strong>, to highlight just a few, there’s a wealth of talent on display here.\u003c/p>\n\u003cp>As in years past, the challenge in compiling our 2017 “Artists to Watch” mix wasn’t how to find new performers worth including. To the contrary, the difficult part of putting together this mix remains trying to limit it to a reasonable number of acts.\u003c/p>\n\u003cp>That’s a nice problem to have, to be sure. More importantly, it’s reassuring to know that although affordability issues continue to challenge so many local musicians, the Bay Area remains home to an abundance of young and emerging musical talent.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 14 San Francisco Bay Area artists.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://raysoakland.tumblr.com/\">Rays\u003c/a>\u003c/strong> – “Drop Dead”\u003cbr>\n\u003cstrong>\u003ca href=\"https://soundcloud.com/siribo510\">Siri\u003c/a>\u003c/strong> – “Lucid”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/ariarostamimusic/?fref=ts\">Aria Rostami\u003c/a>\u003c/strong> – “Clepsydra”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/marbledeye/\">Marbled Eye\u003c/a>\u003c/strong> – “Coated”\u003cbr>\n\u003cstrong>\u003ca href=\"https://silvershadows1.bandcamp.com/\">Silver Shadows\u003c/a>\u003c/strong> – “Fragile Dawn”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/bboyscouts/?fref=nf\">Boy Scouts\u003c/a>\u003c/strong> – “July 9 2015”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Xiomara-464673656879123/\">Xiomara\u003c/a>\u003c/strong> – “Siren”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/yunitygays/\">Unity\u003c/a>\u003c/strong> – “Comes to You”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Feral-Ohms-249033581811919/\">Feral Ohms\u003c/a>\u003c/strong> – “God of Nicaragua”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/circuitssf/\">Circuits\u003c/a>\u003c/strong> – “Favorite Eyes”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.imeraldbrownmusic.com/\">Imerald Brown\u003c/a>\u003c/strong> – “Back and Forth”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/perhapsymusic\">Perhapsy\u003c/a>\u003c/strong> – “Baptism 89”\u003cbr>\n\u003cstrong>\u003ca href=\"https://www.facebook.com/Petheaven-1241394842578998/?fref=ts\">Petheaven\u003c/a>\u003c/strong> – “Fear of Dark Water”\u003cbr>\n\u003cstrong>\u003ca href=\"http://www.rayanajay.com/\">Rayana Jay\u003c/a>\u003c/strong> – “Too Good”\u003c/p>\n\n",
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"content": "\u003cp>The music website Bandcamp will donate the money it earns from music sales that occur this Friday, Feb. 3, to the American Civil Liberties Union.\u003c/p>\n\u003cp>The move, which amounts to 15 percent of all dollars spent on \u003ca href=\"http://bandcamp.com\">bandcamp.com\u003c/a>, was announced in \u003ca href=\"https://daily.bandcamp.com/2017/01/31/bandcamp-human-rights/\">a blog post\u003c/a> Tuesday afternoon.\u003c/p>\n\u003cp>Ethan Diamond, Bandcamp’s founder, writes:\u003c/p>\n\u003cblockquote>\u003cp>“Like 98% of U.S. citizens (including the President), I am the descendant of immigrants—my great-grandparents came to America from Russia and Lithuania as teenagers and worked in sweatshops until they were able to afford to bring the rest of their families over. Most everyone you speak to in this country has a similar story to tell, because we are, in fact, a nation of immigrants, bound together by a shared belief in justice, equality, and the freedom to pursue a better life. In this context, last week’s Executive Order barring immigrants and refugees from seven Middle Eastern countries from entering the United States is not simply immoral, it violates the very spirit and foundation of America.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/01/30/us/aclu-fund-raising-trump-travel-ban.html\">reported\u003c/a> Monday that the ACLU raised more than $24 million since President Donald Trump signed an executive order affecting travel from seven majority-Muslim countries. Part of that spike in fundraising can be traced to musicians. Sia, Grimes, Jack Antonoff and John Legend all donated and encouraged others to donate to the ACLU. “There’s a lot of money and power in this room,” Legend told the Producers Guild on Saturday night, “and I hope you will use it for something good.”\u003c/p>\n\u003cp>Legend gave the organization $10,000; Grimes matched $10,000 in fan donations; Sia pledged to match up to $100,000 in donations from fans; Antonoff said he would match $20,000 in donations. Son Lux \u003ca href=\"https://twitter.com/sonlux/status/826167758245224452\">announced Monday\u003c/a> that the next four years of sales from his debut album would go to the ACLU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp isn’t the only tech company contributing to the ACLU. Lyft announced a $1 million donation, while Google said it would, on top of a $2 million baseline donation, match up to $2 million from its employees.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bandcamp+Joins+Artists+And+Tech+Companies+In+ACLU+Funding+Drive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music website Bandcamp will donate the money it earns from music sales that occur this Friday, Feb. 3, to the American Civil Liberties Union.\u003c/p>\n\u003cp>The move, which amounts to 15 percent of all dollars spent on \u003ca href=\"http://bandcamp.com\">bandcamp.com\u003c/a>, was announced in \u003ca href=\"https://daily.bandcamp.com/2017/01/31/bandcamp-human-rights/\">a blog post\u003c/a> Tuesday afternoon.\u003c/p>\n\u003cp>Ethan Diamond, Bandcamp’s founder, writes:\u003c/p>\n\u003cblockquote>\u003cp>“Like 98% of U.S. citizens (including the President), I am the descendant of immigrants—my great-grandparents came to America from Russia and Lithuania as teenagers and worked in sweatshops until they were able to afford to bring the rest of their families over. Most everyone you speak to in this country has a similar story to tell, because we are, in fact, a nation of immigrants, bound together by a shared belief in justice, equality, and the freedom to pursue a better life. In this context, last week’s Executive Order barring immigrants and refugees from seven Middle Eastern countries from entering the United States is not simply immoral, it violates the very spirit and foundation of America.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/01/30/us/aclu-fund-raising-trump-travel-ban.html\">reported\u003c/a> Monday that the ACLU raised more than $24 million since President Donald Trump signed an executive order affecting travel from seven majority-Muslim countries. Part of that spike in fundraising can be traced to musicians. Sia, Grimes, Jack Antonoff and John Legend all donated and encouraged others to donate to the ACLU. “There’s a lot of money and power in this room,” Legend told the Producers Guild on Saturday night, “and I hope you will use it for something good.”\u003c/p>\n\u003cp>Legend gave the organization $10,000; Grimes matched $10,000 in fan donations; Sia pledged to match up to $100,000 in donations from fans; Antonoff said he would match $20,000 in donations. Son Lux \u003ca href=\"https://twitter.com/sonlux/status/826167758245224452\">announced Monday\u003c/a> that the next four years of sales from his debut album would go to the ACLU.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>James Laurence, a Bay Area producer known as one half of the duo \u003ca href=\"https://friendzone.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>, has passed away at the age of 27.\u003c/p>\n\u003cp>Laurence and his production partner, Dylan Reznick, are credited with pioneering a dreamy, hazy hip-hop sound that came to be called “cloud rap.” In recent years the duo produced records for Main Attrakionz, A$AP Rocky, and Yung Lean, among others.\u003c/p>\n\u003cp>According to Laurence’s Facebook page, he grew up in Danville, attending Monte Vista High School; he was living in Concord at the time of his death.\u003c/p>\n\u003cp>“We’re all just in shock,” said Squadda B of Main Attrakionz, the Oakland hip-hop duo whose 2015 album \u003ci>808s & Dark Grapes III \u003c/i>was produced by Friendzone. “He was such a loving person, a kind person. Free-spirited, always laughing. If you were down you could hit up James and he would bring you right back up. He cared about the people around him. And more than anything he was dedicated to music.”\u003c/p>\n\u003cp>The artists first met, said the rapper, after Laurence and Reznick reached out over Twitter to say they were Main Attrakionz fans; the chemistry, upon meeting to discuss working together, was instant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They loved music like we love music. We would just sit and watch YouTube videos, stuff we admired, or just to talk sh-t … he was a superfan, and he cared about the past of music, the future of music. It was never about the money. He was an artist.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rBRDGSgsOeQ\u003c/p>\n\u003cp>Matt Saincome, a Bay Area music journalist who knew Laurence since the two were teenagers, described the producer as “kind, caring, and immensely creative.”\u003c/p>\n\u003cp>“It was amazing to see him grow as an artist, from someone who used his noise project and oversized PA system to bulldoze suburban garages to a well-known and respected beatmaker, bouncing around on stage with Main Attrakionz and dreaming up the audio backdrop for A$AP Rocky songs,” Saincome wrote in an email. “I had spoken with him recently about our mutual admiration for each other’s creative projects, and how this year we were going to put everything we had into them.”\u003c/p>\n\u003cp>Other friends, including several big names in the music industry, expressed condolences and shared memories of Laurence on Twitter, beginning late in the evening on Sunday, Jan. 29.\u003c/p>\n\u003cp>https://twitter.com/ryanhemsworth/status/825896623490342912\u003c/p>\n\u003cp>https://twitter.com/yungleann/status/826117363372265472\u003c/p>\n\u003cp>https://twitter.com/HowToDressWell/status/825957697887490048\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Laurence’s death is unknown, though some have noted he tweeted about coming down with a \u003ca href=\"https://twitter.com/chuchulvc/status/825205317998833664\" target=\"_blank\" rel=\"noopener\">stomach bug on Jan. 27\u003c/a>. We’ll update this post when we know more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Laurence, a Bay Area producer known as one half of the duo \u003ca href=\"https://friendzone.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Friendzone\u003c/a>, has passed away at the age of 27.\u003c/p>\n\u003cp>Laurence and his production partner, Dylan Reznick, are credited with pioneering a dreamy, hazy hip-hop sound that came to be called “cloud rap.” In recent years the duo produced records for Main Attrakionz, A$AP Rocky, and Yung Lean, among others.\u003c/p>\n\u003cp>According to Laurence’s Facebook page, he grew up in Danville, attending Monte Vista High School; he was living in Concord at the time of his death.\u003c/p>\n\u003cp>“We’re all just in shock,” said Squadda B of Main Attrakionz, the Oakland hip-hop duo whose 2015 album \u003ci>808s & Dark Grapes III \u003c/i>was produced by Friendzone. “He was such a loving person, a kind person. Free-spirited, always laughing. If you were down you could hit up James and he would bring you right back up. He cared about the people around him. And more than anything he was dedicated to music.”\u003c/p>\n\u003cp>The artists first met, said the rapper, after Laurence and Reznick reached out over Twitter to say they were Main Attrakionz fans; the chemistry, upon meeting to discuss working together, was instant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They loved music like we love music. We would just sit and watch YouTube videos, stuff we admired, or just to talk sh-t … he was a superfan, and he cared about the past of music, the future of music. It was never about the money. He was an artist.”\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/rBRDGSgsOeQ'\n title='//www.youtube.com/embed/rBRDGSgsOeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Matt Saincome, a Bay Area music journalist who knew Laurence since the two were teenagers, described the producer as “kind, caring, and immensely creative.”\u003c/p>\n\u003cp>“It was amazing to see him grow as an artist, from someone who used his noise project and oversized PA system to bulldoze suburban garages to a well-known and respected beatmaker, bouncing around on stage with Main Attrakionz and dreaming up the audio backdrop for A$AP Rocky songs,” Saincome wrote in an email. “I had spoken with him recently about our mutual admiration for each other’s creative projects, and how this year we were going to put everything we had into them.”\u003c/p>\n\u003cp>Other friends, including several big names in the music industry, expressed condolences and shared memories of Laurence on Twitter, beginning late in the evening on Sunday, Jan. 29.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The cause of Laurence’s death is unknown, though some have noted he tweeted about coming down with a \u003ca href=\"https://twitter.com/chuchulvc/status/825205317998833664\" target=\"_blank\" rel=\"noopener\">stomach bug on Jan. 27\u003c/a>. We’ll update this post when we know more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like most of us living in the Bay Area who are lucky enough to have a roof over our heads, Daniel Hughes says he has looked away when walking past homeless people.\u003c/p>\n\u003cp>“What I observed in my own behavior, as well as people on the street, was just how difficult it was to confront how someone has fallen so low,” says Hughes, who serves as the artistic director and conductor of \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">The Choral Project\u003c/a>, a community choir in San Jose. “The regular man’s reaction to that is to try to ignore it and pretend it’s not there, because it really does force us to confront our own humanity.”\u003c/p>\n\u003cp>That response, or lack thereof, is exactly what \u003cem>Street Requiem\u003c/em> is designed to confront. Choral groups around the world have performed the work since its debut in 2014 — and donated proceeds to support the homeless in cities from Melbourne, Australia to San Francisco.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/304880949″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Now the Choral Project is performing \u003cem>Street Requiem\u003c/em> in San Jose and Santa Cruz, two Silicon Valley cities with \u003ca href=\"https://www.hudexchange.info/resources/documents/2016-AHAR-Part-1.pdf\" target=\"_blank\" rel=\"noopener\">substantial homeless populations\u003c/a>. 10 percent of the net proceeds from the choir’s shows will be donated to the Office of Social Ministry at the \u003ca href=\"http://www.stjosephcathedral.org/\" target=\"_blank\" rel=\"noopener\">Saint Joseph Cathedral Basilica\u003c/a> in downtown San Jose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kathleen McGuire, one of the co-creators of \u003cem>Street Requiem\u003c/em>, spent 13 years in the San Francisco Bay Area. She led a number of high profile groups, including the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> and a homeless choir in San Francisco called \u003ca href=\"http://www.singersofthestreet.org/\" target=\"_blank\" rel=\"noopener\">Singers of the Street\u003c/a> (SOS).\u003c/p>\n\u003cp>McGuire was inspired to launch SOS by a fellow Australian choral conductor, \u003ca href=\"http://www.jonathonwelch.com/\" target=\"_blank\" rel=\"noopener\">Jonathon Welch\u003c/a>, who’s started two homeless choirs himself, in Australia. He also came up with the idea for \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK]”There are so many people who die on the streets every year, who nobody mourns, and nobody knows their name,” McGuire says. \u003cem>Street Requiem,\u003c/em> she says, “is really about the experience of the person on the street, and yes, trying to put the audience, as well as the performers, into a different mindset.”\u003c/p>\n\u003cp>\u003cem>Street Requiem\u003c/em> draws from multiple musical traditions, foremost among them Roman Catholic religious music. The “Requiem Æternam” movement, or “Eternal Rest” in Latin, for instance, is a prayer asking God to hasten the journey souls take from purgatory to heaven.\u003c/p>\n\u003cp>“We’ve taken some core elements of the traditional requiem, but we’ve put it into modern vernacular,” McGuire says. “We’ve also taken out some of the very overtly Christian language to try and make it more accessible to people of faith but not a specific religion.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Excerpt from “Ubi Caritas – Charity and Love”\u003c/strong>\u003c/p>\n\u003cp>What is it that scares you when it’s change I’m looking for?\u003c/p>\n\u003cp>What is it that scares you that make you bar the door?\u003c/p>\n\u003cp>What is it that scares you when my hand’s stretched out this way?\u003c/p>\n\u003cp>What is it that scares you that makes you turn away?\u003c/p>\n\u003cp>Ubi caritas et amor deus ibi est.\u003c/p>\n\u003cp>\u003ci>(Where there is charity and love, there you will find the spirit of God.)\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Street Requiem\u003c/em> also addresses the multiple ways people die on the street across the world every day — not just as a result of exposure to the elements, but also through crime and government oppression. One of the most touching movements, “Gloria,” includes a phrase from the Zulu language commonly sung at South African funerals and demonstrations.\u003c/p>\n\u003cp>“Senzeni na means ‘What have I done?’ or ‘What have we done?'” McGuire says. “It also means, ‘What have we done, as a society, to each other?'”\u003c/p>\n\u003cp>McGuire is not the only musician involved in the project who feels the homeless crisis applies to all of us. That’s why the Bay Area-based, internationally renowned mezzo-soprano Frederica von Stade is involved in the San Jose and Santa Cruz performances of \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12685633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg\" alt='\"The more you go back to [Street Requiem], the more you discover new levels of depth,\" says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. \"The depth of emotions I have to this music and the issues just continues to increase.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The more you go back to [Street Requiem], the more you discover new levels of depth,” says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. “The depth of emotions I have to this music and the issues just continues to increase.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not very hard to end up on the street.” says von Stade, who has performed \u003cem>Street Requiem\u003c/em> in Dallas, San Mateo, San Francisco and with an Australian choir at Carnegie Hall. “Nobody’s that different than we are. They’ve just had unbelievably tragic circumstances and they’re circumstances that are beyond people’s control.” Over the years, she’s also worked with a couple of organizations that provide opportunities for poor children to learn music, including the \u003ca href=\"http://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a>.\u003c/p>\n\u003cp>With real estate prices as high as they are in Silicon Valley, choir members can’t help but resonate with the thought that we’re all potentially one crisis away from the streets, and that any one of us could fall prey to a layoff, a health crisis, crime, or indifference from friends and family.\u003c/p>\n\u003cp>It’s heavy stuff, acknowledges Choral Project baritone Wilfred Matthews. He’s been singing with the community choir for 13 years, commuting from as far away as Sacramento at one point to be a part of the group.\u003c/p>\n\u003cfigure id=\"attachment_12685634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg\" alt='The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. \"It’s very moving,\" says alto Kathy Armstrong, \"but also uplifting at the same time. It’s great fun to sing.\"' width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. “It’s very moving,” says alto Kathy Armstrong, “but also uplifting at the same time. It’s great fun to sing.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matthews sang \u003cem>Street Requiem\u003c/em> two years ago when it was performed in San Francisco and San Mateo. “It was such a moving work,” Matthews says. “I felt like I could contribute in a little way, you know, even with my own small voice, to spreading the message of hope for the marginalized in our society.”\u003c/p>\n\u003cp>Matthews says the work has helped to change the way he interacts with people living on the streets. “I actually look at them in the eye,” he says. “I don’t walk away like I used to before.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The \u003cstrong>Choral Project\u003c/strong> performs \u003cstrong>Street Requiem\u003c/strong> on Wednesday, Feb. 15, at the \u003cem>Saint Joseph Cathedral Basilica\u003c/em> in San Jose; and Saturday, Feb. 18, 2017 at Peace United Church of Christ in Santa Cruz. \u003ca href=\"http://www.choralproject.org/categories/street-requiem/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most of us living in the Bay Area who are lucky enough to have a roof over our heads, Daniel Hughes says he has looked away when walking past homeless people.\u003c/p>\n\u003cp>“What I observed in my own behavior, as well as people on the street, was just how difficult it was to confront how someone has fallen so low,” says Hughes, who serves as the artistic director and conductor of \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">The Choral Project\u003c/a>, a community choir in San Jose. “The regular man’s reaction to that is to try to ignore it and pretend it’s not there, because it really does force us to confront our own humanity.”\u003c/p>\n\u003cp>That response, or lack thereof, is exactly what \u003cem>Street Requiem\u003c/em> is designed to confront. Choral groups around the world have performed the work since its debut in 2014 — and donated proceeds to support the homeless in cities from Melbourne, Australia to San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/304880949″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/304880949″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Now the Choral Project is performing \u003cem>Street Requiem\u003c/em> in San Jose and Santa Cruz, two Silicon Valley cities with \u003ca href=\"https://www.hudexchange.info/resources/documents/2016-AHAR-Part-1.pdf\" target=\"_blank\" rel=\"noopener\">substantial homeless populations\u003c/a>. 10 percent of the net proceeds from the choir’s shows will be donated to the Office of Social Ministry at the \u003ca href=\"http://www.stjosephcathedral.org/\" target=\"_blank\" rel=\"noopener\">Saint Joseph Cathedral Basilica\u003c/a> in downtown San Jose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kathleen McGuire, one of the co-creators of \u003cem>Street Requiem\u003c/em>, spent 13 years in the San Francisco Bay Area. She led a number of high profile groups, including the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> and a homeless choir in San Francisco called \u003ca href=\"http://www.singersofthestreet.org/\" target=\"_blank\" rel=\"noopener\">Singers of the Street\u003c/a> (SOS).\u003c/p>\n\u003cp>McGuire was inspired to launch SOS by a fellow Australian choral conductor, \u003ca href=\"http://www.jonathonwelch.com/\" target=\"_blank\" rel=\"noopener\">Jonathon Welch\u003c/a>, who’s started two homeless choirs himself, in Australia. He also came up with the idea for \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cp>\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/nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK'\n title='//www.youtube.com/embed/nf_exeHB9JA?list=PLwHx0O0gnxuj3Vnf5RZBtImSqzAGvjQrK'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”There are so many people who die on the streets every year, who nobody mourns, and nobody knows their name,” McGuire says. \u003cem>Street Requiem,\u003c/em> she says, “is really about the experience of the person on the street, and yes, trying to put the audience, as well as the performers, into a different mindset.”\u003c/p>\n\u003cp>\u003cem>Street Requiem\u003c/em> draws from multiple musical traditions, foremost among them Roman Catholic religious music. The “Requiem Æternam” movement, or “Eternal Rest” in Latin, for instance, is a prayer asking God to hasten the journey souls take from purgatory to heaven.\u003c/p>\n\u003cp>“We’ve taken some core elements of the traditional requiem, but we’ve put it into modern vernacular,” McGuire says. “We’ve also taken out some of the very overtly Christian language to try and make it more accessible to people of faith but not a specific religion.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Excerpt from “Ubi Caritas – Charity and Love”\u003c/strong>\u003c/p>\n\u003cp>What is it that scares you when it’s change I’m looking for?\u003c/p>\n\u003cp>What is it that scares you that make you bar the door?\u003c/p>\n\u003cp>What is it that scares you when my hand’s stretched out this way?\u003c/p>\n\u003cp>What is it that scares you that makes you turn away?\u003c/p>\n\u003cp>Ubi caritas et amor deus ibi est.\u003c/p>\n\u003cp>\u003ci>(Where there is charity and love, there you will find the spirit of God.)\u003c/i>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Street Requiem\u003c/em> also addresses the multiple ways people die on the street across the world every day — not just as a result of exposure to the elements, but also through crime and government oppression. One of the most touching movements, “Gloria,” includes a phrase from the Zulu language commonly sung at South African funerals and demonstrations.\u003c/p>\n\u003cp>“Senzeni na means ‘What have I done?’ or ‘What have we done?'” McGuire says. “It also means, ‘What have we done, as a society, to each other?'”\u003c/p>\n\u003cp>McGuire is not the only musician involved in the project who feels the homeless crisis applies to all of us. That’s why the Bay Area-based, internationally renowned mezzo-soprano Frederica von Stade is involved in the San Jose and Santa Cruz performances of \u003cem>Street Requiem\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12685633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg\" alt='\"The more you go back to [Street Requiem], the more you discover new levels of depth,\" says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. \"The depth of emotions I have to this music and the issues just continues to increase.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23888_Photo-Jan-23-7-27-40-PM-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The more you go back to [Street Requiem], the more you discover new levels of depth,” says Daniel Hughes, artistic director and conductor of The Choral Project in San Jose. “The depth of emotions I have to this music and the issues just continues to increase.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s not very hard to end up on the street.” says von Stade, who has performed \u003cem>Street Requiem\u003c/em> in Dallas, San Mateo, San Francisco and with an Australian choir at Carnegie Hall. “Nobody’s that different than we are. They’ve just had unbelievably tragic circumstances and they’re circumstances that are beyond people’s control.” Over the years, she’s also worked with a couple of organizations that provide opportunities for poor children to learn music, including the \u003ca href=\"http://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a>.\u003c/p>\n\u003cp>With real estate prices as high as they are in Silicon Valley, choir members can’t help but resonate with the thought that we’re all potentially one crisis away from the streets, and that any one of us could fall prey to a layoff, a health crisis, crime, or indifference from friends and family.\u003c/p>\n\u003cp>It’s heavy stuff, acknowledges Choral Project baritone Wilfred Matthews. He’s been singing with the community choir for 13 years, commuting from as far away as Sacramento at one point to be a part of the group.\u003c/p>\n\u003cfigure id=\"attachment_12685634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12685634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg\" alt='The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. \"It’s very moving,\" says alto Kathy Armstrong, \"but also uplifting at the same time. It’s great fun to sing.\"' width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/RS23886_Photo-Jan-23-7-24-00-PM-001-qut-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project rehearses Street Requiem at Willow Glen United Methodist Church in San Jose. “It’s very moving,” says alto Kathy Armstrong, “but also uplifting at the same time. It’s great fun to sing.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matthews sang \u003cem>Street Requiem\u003c/em> two years ago when it was performed in San Francisco and San Mateo. “It was such a moving work,” Matthews says. “I felt like I could contribute in a little way, you know, even with my own small voice, to spreading the message of hope for the marginalized in our society.”\u003c/p>\n\u003cp>Matthews says the work has helped to change the way he interacts with people living on the streets. “I actually look at them in the eye,” he says. “I don’t walk away like I used to before.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003cstrong>Choral Project\u003c/strong> performs \u003cstrong>Street Requiem\u003c/strong> on Wednesday, Feb. 15, at the \u003cem>Saint Joseph Cathedral Basilica\u003c/em> in San Jose; and Saturday, Feb. 18, 2017 at Peace United Church of Christ in Santa Cruz. \u003ca href=\"http://www.choralproject.org/categories/street-requiem/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kiwi-illafontes-seeds-is-the-nina-simone-sampling-protest-track-you-need",
"title": "Kiwi Illafonte's 'Seeds' Taps Nina Simone For an Uplifting Protest Message",
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"headTitle": "Kiwi Illafonte’s ‘Seeds’ Taps Nina Simone For an Uplifting Protest Message | KQED",
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"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Kiwi Illafonte, “Seeds”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JO664NjJeNI&feature=youtu.be\u003cbr>\n“I wrote the lyrics to ‘Seeds’ not long after Trump’s election was confirmed. In addition to my own thoughts about it, the song was also informed and inspired by the insights of my friends and community folks, many of whom are local activists and organizers,” \u003cstrong>\u003ca href=\"https://www.facebook.com/kiwiillafonte/\" target=\"_blank\" rel=\"noopener\">Kiwi Illafonte\u003c/a>\u003c/strong> told me by email when I asked about this new track. Its title plays on the expression — often associated with the Zapatista movement — “They tried to bury us; they didn’t know we were seeds.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A longtime Oakland resident originally from LA, Illafonte’s probably best known as one-third of the hip-hop trio Native Guns. But he’s also a volunteer educator with ROOTS (Restoring Our Original True Selves), a community education program that works with the Asian and Pacific Islander population at San Quentin State Prison. He’s also worked with \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=7143bf5db3bf4dbc92c45cc303fab87f&URL=https%3a%2f%2fwww.facebook.com%2fMigrante-Northern-California-1555606924699652%2f\" target=\"_blank\" rel=\"noopener\">MIGRANTE Northern California\u003c/a>, an organization that advocates for Filipino migrant workers, as well as PAWIS (People’s Association of Workers and Immigrants), a local group focused on rights for Filipino domestic workers, caregivers, and other migrant workers in the East Bay.\u003c/p>\n\u003cp>“The feeling that stuck out to me the most was disappointment and anger — at the lack of common sense and humanity — of those who supported Trump,” he said, “as well as uncertainty about what a Trump presidency would mean to those of us in this country who exist on the margins. I felt writing a song was the most healthy means I had to process all those emotions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track features three spoken-word samples, interludes from George Carlin, Jay Smooth, and Nina Simone. The latter, he says, in which Simone discusses artists’ responsibilities in society, has been one of his favorite quotes for a while.\u003c/p>\n\u003cp>“I believe it’s an artist’s role to reflect society; to provoke, educate, comfort, offer relief,” he says. “But I also feel that, if an artist decides that they are going to speak on a political issue, that they seek out those on the front lines of that issue, i.e organizers and activists.\u003c/p>\n\u003cp>“There are so many well-intentioned artists who try to speak up on issues but their analysis ends up sounding weak and/or incomplete. I am blessed to be surrounded by — and accountable to — many Bay Area activists that have been organizing for years around issues like gentrification, police violence, the school-to-prison pipeline, and violence against women. They’ve definitely informed how I speak and write about the problems that impact our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oh, and yeah: I post newish local songs I like on Fridays now. Got something I should hear? \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'They tried to bury us; they didn't know we were seeds' takes on new meaning in this fresh track from the Oakland rapper, written the night of the election. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Kiwi Illafonte, “Seeds”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JO664NjJeNI&feature=youtu.be\u003cbr>\n“I wrote the lyrics to ‘Seeds’ not long after Trump’s election was confirmed. In addition to my own thoughts about it, the song was also informed and inspired by the insights of my friends and community folks, many of whom are local activists and organizers,” \u003cstrong>\u003ca href=\"https://www.facebook.com/kiwiillafonte/\" target=\"_blank\" rel=\"noopener\">Kiwi Illafonte\u003c/a>\u003c/strong> told me by email when I asked about this new track. Its title plays on the expression — often associated with the Zapatista movement — “They tried to bury us; they didn’t know we were seeds.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A longtime Oakland resident originally from LA, Illafonte’s probably best known as one-third of the hip-hop trio Native Guns. But he’s also a volunteer educator with ROOTS (Restoring Our Original True Selves), a community education program that works with the Asian and Pacific Islander population at San Quentin State Prison. He’s also worked with \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=7143bf5db3bf4dbc92c45cc303fab87f&URL=https%3a%2f%2fwww.facebook.com%2fMigrante-Northern-California-1555606924699652%2f\" target=\"_blank\" rel=\"noopener\">MIGRANTE Northern California\u003c/a>, an organization that advocates for Filipino migrant workers, as well as PAWIS (People’s Association of Workers and Immigrants), a local group focused on rights for Filipino domestic workers, caregivers, and other migrant workers in the East Bay.\u003c/p>\n\u003cp>“The feeling that stuck out to me the most was disappointment and anger — at the lack of common sense and humanity — of those who supported Trump,” he said, “as well as uncertainty about what a Trump presidency would mean to those of us in this country who exist on the margins. I felt writing a song was the most healthy means I had to process all those emotions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track features three spoken-word samples, interludes from George Carlin, Jay Smooth, and Nina Simone. The latter, he says, in which Simone discusses artists’ responsibilities in society, has been one of his favorite quotes for a while.\u003c/p>\n\u003cp>“I believe it’s an artist’s role to reflect society; to provoke, educate, comfort, offer relief,” he says. “But I also feel that, if an artist decides that they are going to speak on a political issue, that they seek out those on the front lines of that issue, i.e organizers and activists.\u003c/p>\n\u003cp>“There are so many well-intentioned artists who try to speak up on issues but their analysis ends up sounding weak and/or incomplete. I am blessed to be surrounded by — and accountable to — many Bay Area activists that have been organizing for years around issues like gentrification, police violence, the school-to-prison pipeline, and violence against women. They’ve definitely informed how I speak and write about the problems that impact our communities.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oh, and yeah: I post newish local songs I like on Fridays now. Got something I should hear? \u003ca href=\"mailto:esilvers@kqed.org\" target=\"_blank\" rel=\"noopener\">esilvers@kqed.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"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.",
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"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>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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