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"publishDate": 1484813156,
"format": "standard",
"disqusTitle": "How 'The Little Mermaid' Predicted Britney Spears' Entire Life",
"title": "How 'The Little Mermaid' Predicted Britney Spears' Entire Life",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/303456535&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We all have our daily rituals. There's the universal: brushing teeth, going to work, eating avocado. And then there's the idiosyncratic. For me, a day does not pass without texting at least one friend about the latest charmingly odd thing that has popped up on \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\">Britney Spears' Instagram\u003c/a>.\u003c/p>\n\u003cp>Yesterday's text conversation was in honor of the following:\u003c/p>\n\u003cp>https://www.instagram.com/p/BLZOzQCgN5R/?taken-by=britneyspears\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To the unimaginative masses, who have lost all innocence and ability to recognize magic in the world, it's just a photo of a chess board. To Britney, it is a curiosity waiting to be explored, an invitation to transform.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most of Britney’s Instagram posts are dedicated to random curiosities, such as \u003c/span>\u003ca href=\"https://www.instagram.com/p/BLIEoclASu3/?taken-by=britneyspears\">miniature puppies sitting in heels in front of the Eiffel Tower\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKhZipwgHJi/?taken-by=britneyspears\">creepy children\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKZ3LewgwMC/?taken-by=britneyspears\">rainbow unicorn kittens\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGrwELtm8Eq/?taken-by=britneyspears\">body positive memes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGewwN9m8Iq/?taken-by=britneyspears\">mood illustrations featuring Sailor Moon\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGfdAKfm8KZ/?taken-by=britneyspears\">lazy kittens relaxing in hammocks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGKEYozm8AB/?taken-by=britneyspears\">reminders that's she Christian\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGCfmn-G8AC/?taken-by=britneyspears\">random, unattributed, but valid words of wisdom\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BFSwMQ3m8H4/?taken-by=britneyspears\">cats wearing backpacks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEkCgS7G8NA/?taken-by=britneyspears\">feminist North West jokes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEUkDY3m8Hy/?taken-by=britneyspears\">\u003cem>Sex and the City\u003c/em> screenshots\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BDojA4lm8FW/?taken-by=britneyspears\">throwbacks to when she and a gang-signing Leonardo Dicaprio hung out\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBlpJoRm8B2/?taken-by=britneyspears\">Albert Einstein fangirling\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBRanuEm8B9/?taken-by=britneyspears\">weirdly sexual lion art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BAvLa51m8HB/?taken-by=britneyspears\">lust for bearded models\u003c/a>,\u003ca href=\"https://www.instagram.com/p/_IrfByG8En/?taken-by=britneyspears\"> troubling watermarked art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">gratitude for hot bread\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">nods to all-denim relationships of yore\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Britney's Instagram feels like a cyber manifestation of Ariel’s cave of wonders and knick-knacks, so as a joke, I texted a friend: \"Britney is Ariel before she left home.” But the more I think about it, the similarities between Britney\u003c/span> and \u003cem>The Little Mermaid\u003c/em>’s protagonist are actually pretty uncanny.\u003c/p>\n\u003cp>Let us count the ways:\u003c/p>\n\u003cp>Both Ariel and Britney are known for their voices. In the first few minutes of \u003cem>The Little Mermaid\u003c/em>, an audience is wildly disappointed by Ariel's failure to show up to a gig.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41199\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png\" alt=\"Screen Shot 2016-10-10 at 5.28.04 PM\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1440x811.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-960x541.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Similarly, many leave Britney shows disappointed, due to her insistence on lip-syncing, another form of not showing up (don't @ me, Britney stans; I love her dearly, but facts are facts).\u003c/p>\n\u003cp>Almost everything Ariel does in \u003cem>The Little Mermaid\u003c/em> is in direct opposition to the limits her father places on her freedom of movement and expression. Similarly, the major theme in Britney's life has been fighting against an overprotective father and management team, a struggle that continues to this day and inspired this bop:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZYSiWHW8V0\u003c/p>\n\u003cp>Both Ariel and Britney have a habit of fawning over and seeing possibility in ordinary objects that bore everyone else.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png\" alt=\"Screen Shot 2016-10-10 at 5.12.59 PM\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-400x226.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-768x434.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1440x814.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1180x667.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-960x543.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM.png 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41198\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png\" alt=\"Screen Shot 2016-10-10 at 5.31.45 PM\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Ariel and Britney are followed around by a protective, risk-averse family friend whose sole purpose is to remind them that all of their impulses will most likely lead to devastation. For Ariel, it’s Flounder. For Britney, it’s Felicia, whom y\u003c/span>\u003cspan style=\"font-weight: 400\">ou might remember as \u003c/span>\u003ca href=\"https://s-media-cache-ak0.pinimg.com/736x/83/da/0a/83da0a444c3fd2e95e70859781a3d11f.jpg\">\u003cspan style=\"font-weight: 400\">the teacher in the \"...Baby One More Time\" music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41214\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-800x400.jpg\" alt=\"felicia-flounder-britney-ariel\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Flounder and Felicia are both known to accidentally rat their girls out.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png\" alt=\"Screen Shot 2016-10-10 at 5.39.48 PM\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-960x509.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM.png 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\" alt=\"eca23674b2c6d44da612b49bb9ded03d\" width=\"236\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d-160x207.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>Both Ariel and Britney are also followed around by a micromanager hired by their fathers to convince them that a controlled environment free of choice is better than the unknown of a life of their own choosing. For Ariel, it's Sebastian. For Britney, it's her current manager Larry Rudolph.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\">\u003cimg class=\"aligncenter wp-image-59440 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\" alt=\"Ariel---Sebastian-the-little-mermaid-45008_483_353\" width=\"483\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg 483w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-160x117.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-240x175.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-375x274.jpg 375w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-59439 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/brit_vma2.jpg\" alt=\"brit_vma2\" width=\"454\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-375x289.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003c/p>\n\u003cp>When Ariel fails to show up to the show at the beginning of the movie, Sebastian says, \"This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughingstock of the entire kingdom!\" Swap out \"entire kingdom\" for \"entire music industry\" and it's easily something that could come out of Larry Rudolph's mouth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every time Ariel and Britney sneak away from the pressures of being the princess of the sea and the princess of pop, they are hounded by sharks and the paparazzi, respectively.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\">\u003cimg class=\"aligncenter size-medium wp-image-41216\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\" alt=\"whoa-the-little-mermaid-32149733-500-303\" width=\"500\" height=\"303\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\">\u003cimg class=\"aligncenter size-full wp-image-41215\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\" alt=\"britney\" width=\"280\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>The first time Ariel sees Prince Eric, he's dancing and she's\u003cem> feeling\u003c/em> his moves.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\">\u003cimg class=\"aligncenter size-full wp-image-41218\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\" alt=\"EricReaction2\" width=\"422\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>The first time Britney laid eyes on future husband and baby daddy Kevin Federline, she was equally feeling it. Federline was a backup dancer for Michael Jackson, Destiny's Child, Pink, and none other than Justin Timberlake, Britney's ex. (Kevin is the one with the cornrows and sleeveless jacket.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\">\u003cimg class=\"aligncenter size-full wp-image-41217\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\" alt=\"kevin federline justin timberlake britney\" width=\"530\" height=\"356\">\u003c/a>\u003c/p>\n\u003cp>Triton didn't like Ariel's taste in men. And Britney's dad didn't like hers either. This convo between Ariel and Triton is something that probably happened in the Spears household:\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: Daddy, I love him!\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Have you lost your senses completely? He's a human (backup dancer), you're a mermaid (pop superstar)!\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: I don't care!\u003c/p>\n\u003cp>Both Ariel and Britney rebelled against their fathers' strict rules by hanging out with the wrong crowd. For Ariel, it was Ursula's henchmen, Flotsam and Jetsam. For Britney, it was Paris Hilton and Lindsay Lohan:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png\">\u003cimg class=\"aligncenter size-medium wp-image-41329\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png\" alt=\"ariel-flotsam-jetsam\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-41327\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault-400x300.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>Desperate to take control of their lives, both Ariel and Britney turned to a Svengali figure, who took advantage of them in their time of need. For Ariel, it was Ursula. For Britney, it was Sam Lutfi, a super shady dude who popped out of nowhere to enable her and try to make a buck off the situation by becoming her manager. He did something similar with Amanda Bynes and, as recently as last summer,\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3663105/Britney-Spears-controversial-ex-manager-Sam-Lutfi-kidnapped-robbed-estranged-musician-husband-Frances-Bean-Cobain.html\"> allegedly kidnapped and robbed Frances Bean Cobain's husband\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41337\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg\" alt=\"efaa1290-cbe2-0132-9a8a-0e01949ad350\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41338\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\" alt=\"LuftiBritney\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney-400x240.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>As a consequence of Ursula's meddling, Ariel literally lost her voice. Britney lost hers in a more figurative sense. As a response to Britney running around with Sam and getting into trouble, Britney's dad and Larry Rudolph probably had a conversation similar to this one between Triton and Sebastian:\u003c/p>\n\u003cp>\u003cstrong>Sebastian:\u003c/strong> Why, if Ariel was my daughter, I'd show her who was boss. None of this flitting to the surface (da club) and other such nonsense. No, sir. I'd keep her under tight control.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You're absolutely right, Sebastian. Ariel needs constant supervision.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>Constant.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Someone to watch over her, to keep her out of trouble.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>All the time.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: And YOU are just the crab (manager) to do it.\u003c/p>\n\u003cp>This is where Britney's conservatorship comes in, a legally binding document, much like the one Ariel signed with Ursula, which robbed Britney of her voice in the sense that she could no longer make her own decisions in terms of her life, her business, what songs she recorded, and basically everything else.\u003c/p>\n\u003cp>Sebastian sings a whole song called \"Under the Sea,\" trying to convince Ariel that she should just stay home and not do anything her father wouldn't approve of. Change the title to \"Under the Conservatorship\" (or \"Under the C,\" for short) and you basically have the same thing.\u003c/p>\n\u003cp>Conservatorship Day 1:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s.gif\" alt=\"ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s\" width=\"690\" height=\"388\">\u003c/p>\n\u003cp>Ariel's big hit is \"Part of Your World,\" in which she laments that, despite a life of privilege and spoils, there's still a deep loneliness inside her:\u003c/p>\n\u003cblockquote>\u003cp>Look at this stuff\u003cbr>\nIsn't it neat?\u003cbr>\nWouldn't you think my collection's complete?\u003cbr>\nWouldn't you think I'm the girl\u003cbr>\nThe girl who has everything?\u003c/p>\u003c/blockquote>\n\u003cp>This idea of having it all but still being unhappy is also present throughout Britney Jean Spears' life, and infused in one of her most iconic songs, \"Lucky\":\u003c/p>\n\u003cblockquote>\u003cp>She's so lucky, she's a star\u003cbr>\nBut she cry, cry, cries in her lonely heart, thinking\u003cbr>\nIf there's nothing missing in my life\u003cbr>\nThen why do these tears come at night?\u003c/p>\u003c/blockquote>\n\u003cp>Here's another overlap. Ariel sings:\u003c/p>\n\u003cblockquote>\u003cp>I've got gadgets and gizmos aplenty\u003cbr>\nI've got whozits and whatzits galore\u003cbr>\n[You want thingamabobs? I got twenty]\u003cbr>\nBut who cares?\u003cbr>\nNo big deal\u003cbr>\nI want more\u003c/p>\u003c/blockquote>\n\u003cp>You know who else wants more? Britney!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=elueA2rofoo\u003c/p>\n\u003cp>\"Part of Your World\" could also be about Britney's desire to just be a regular person who can go to a Starbucks:\u003c/p>\n\u003cblockquote>\u003cp>I wanna be where the people are\u003cbr>\nI wanna see\u003cbr>\nWanna see 'em [sippin' grande lattes]\u003c/p>\u003c/blockquote>\n\u003cp>Or a beach:\u003c/p>\n\u003cblockquote>\u003cp>What would I give\u003cbr>\nIf I could live\u003cbr>\nOutta these waters?\u003cbr>\nWhat would I pay\u003cbr>\nTo spend a day\u003cbr>\nWarm on the sand?\u003c/p>\u003c/blockquote>\n\u003cp>Or anywhere else, without being hounded by paparazzi:\u003c/p>\n\u003cblockquote>\u003cp>Up where they walk\u003cbr>\nUp where they run\u003cbr>\nUp where they stay all day in the sun\u003cbr>\nWanderin' free\u003cbr>\nWish I could be\u003cbr>\nPart of that world\u003c/p>\u003c/blockquote>\n\u003cp>One of my favorite parts of \"Part of Your World\" is when Ariel gets super feminist:\u003c/p>\n\u003cblockquote>\u003cp>Betcha on land\u003cbr>\nThey understand\u003cbr>\nBet they don't reprimand their daughters\u003cbr>\nBright young women\u003cbr>\nSick o' swimmin'\u003cbr>\nReady to stand\u003c/p>\u003c/blockquote>\n\u003cp>Britney also has a song all about being ready to stand up and claim her agency:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dIOH8Trfas4\u003c/p>\n\u003cp>Eventually, after hitting rock bottom...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\">\u003cimg class=\"aligncenter size-full wp-image-58263\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\" alt=\"ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d\" width=\"690\" height=\"388\">\u003c/a>\u003c/p>\n\u003cp>...both women find their way to a more-or-less happy ending.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\u003cp>Triton and Britney's dad both realize that it might be a good idea to let their adult daughters be in charge of their own lives.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: Well, it's like I always say, Your Majesty. Children got to be free to lead their own lives.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You... always say that? \u003ci>[sighs]\u003c/i> Then I guess there's just one problem left.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: And what's that, Your Majesty?\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: How much I'm going to miss her.\u003c/p>\n\u003cp>Triton grants Ariel legs so she can live above sea level and marry Eric. And, last year, Britney was freed to get back to making her own decisions in terms of her music career. She was able to call all the shots and have complete control over her last album, \u003cem>Glory\u003c/em>, and it's her best album since the conservatorship was put in place.\u003c/p>\n\u003cp>These are just some of the reasons why I believe \u003cem>The Little Mermaid\u003c/em> predicted Britney's entire life. Not completely convinced yet? Here are a few last parallels:\u003c/p>\n\u003cp>Dogs love them:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\">\u003cimg class=\"aligncenter size-large wp-image-58270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\" alt=\"img_0994\" width=\"522\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994.jpg 522w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-520x312.jpg 520w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\" alt=\"celebrities-kissing-dogs-11282011-26-675x538\" width=\"675\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg 675w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-240x191.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-375x299.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-520x414.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003c/a>\u003c/p>\n\u003cp>Both have been known to deeply feel themselves in a bad look:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png\">\u003cimg class=\"aligncenter size-medium wp-image-41194\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png\" alt=\"Screen Shot 2016-10-10 at 9.36.56 PM\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1440x805.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\" alt=\"3d68d30837aed0ec6f9da730e30f7953\" width=\"236\" height=\"359\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953-160x243.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>And both have replicas that look nothing like them.\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41195\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png\" alt=\"Screen Shot 2016-10-10 at 6.37.27 PM\" width=\"800\" height=\"423\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-768x406.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-1180x624.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58266\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\" alt=\"photo\" width=\"768\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-520x693.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I rest my case.\u003c/p>\n\n",
"disqusIdentifier": "41144 http://ww2.kqed.org/pop/?p=41144",
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"excerpt": "A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/303456535&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We all have our daily rituals. There's the universal: brushing teeth, going to work, eating avocado. And then there's the idiosyncratic. For me, a day does not pass without texting at least one friend about the latest charmingly odd thing that has popped up on \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\">Britney Spears' Instagram\u003c/a>.\u003c/p>\n\u003cp>Yesterday's text conversation was in honor of the following:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To the unimaginative masses, who have lost all innocence and ability to recognize magic in the world, it's just a photo of a chess board. To Britney, it is a curiosity waiting to be explored, an invitation to transform.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most of Britney’s Instagram posts are dedicated to random curiosities, such as \u003c/span>\u003ca href=\"https://www.instagram.com/p/BLIEoclASu3/?taken-by=britneyspears\">miniature puppies sitting in heels in front of the Eiffel Tower\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKhZipwgHJi/?taken-by=britneyspears\">creepy children\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKZ3LewgwMC/?taken-by=britneyspears\">rainbow unicorn kittens\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGrwELtm8Eq/?taken-by=britneyspears\">body positive memes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGewwN9m8Iq/?taken-by=britneyspears\">mood illustrations featuring Sailor Moon\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGfdAKfm8KZ/?taken-by=britneyspears\">lazy kittens relaxing in hammocks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGKEYozm8AB/?taken-by=britneyspears\">reminders that's she Christian\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGCfmn-G8AC/?taken-by=britneyspears\">random, unattributed, but valid words of wisdom\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BFSwMQ3m8H4/?taken-by=britneyspears\">cats wearing backpacks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEkCgS7G8NA/?taken-by=britneyspears\">feminist North West jokes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEUkDY3m8Hy/?taken-by=britneyspears\">\u003cem>Sex and the City\u003c/em> screenshots\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BDojA4lm8FW/?taken-by=britneyspears\">throwbacks to when she and a gang-signing Leonardo Dicaprio hung out\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBlpJoRm8B2/?taken-by=britneyspears\">Albert Einstein fangirling\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBRanuEm8B9/?taken-by=britneyspears\">weirdly sexual lion art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BAvLa51m8HB/?taken-by=britneyspears\">lust for bearded models\u003c/a>,\u003ca href=\"https://www.instagram.com/p/_IrfByG8En/?taken-by=britneyspears\"> troubling watermarked art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">gratitude for hot bread\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">nods to all-denim relationships of yore\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Britney's Instagram feels like a cyber manifestation of Ariel’s cave of wonders and knick-knacks, so as a joke, I texted a friend: \"Britney is Ariel before she left home.” But the more I think about it, the similarities between Britney\u003c/span> and \u003cem>The Little Mermaid\u003c/em>’s protagonist are actually pretty uncanny.\u003c/p>\n\u003cp>Let us count the ways:\u003c/p>\n\u003cp>Both Ariel and Britney are known for their voices. In the first few minutes of \u003cem>The Little Mermaid\u003c/em>, an audience is wildly disappointed by Ariel's failure to show up to a gig.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41199\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png\" alt=\"Screen Shot 2016-10-10 at 5.28.04 PM\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1440x811.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-960x541.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Similarly, many leave Britney shows disappointed, due to her insistence on lip-syncing, another form of not showing up (don't @ me, Britney stans; I love her dearly, but facts are facts).\u003c/p>\n\u003cp>Almost everything Ariel does in \u003cem>The Little Mermaid\u003c/em> is in direct opposition to the limits her father places on her freedom of movement and expression. Similarly, the major theme in Britney's life has been fighting against an overprotective father and management team, a struggle that continues to this day and inspired this bop:\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/PZYSiWHW8V0'\n title='//www.youtube.com/embed/PZYSiWHW8V0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both Ariel and Britney have a habit of fawning over and seeing possibility in ordinary objects that bore everyone else.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png\" alt=\"Screen Shot 2016-10-10 at 5.12.59 PM\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-400x226.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-768x434.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1440x814.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1180x667.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-960x543.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM.png 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41198\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png\" alt=\"Screen Shot 2016-10-10 at 5.31.45 PM\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Ariel and Britney are followed around by a protective, risk-averse family friend whose sole purpose is to remind them that all of their impulses will most likely lead to devastation. For Ariel, it’s Flounder. For Britney, it’s Felicia, whom y\u003c/span>\u003cspan style=\"font-weight: 400\">ou might remember as \u003c/span>\u003ca href=\"https://s-media-cache-ak0.pinimg.com/736x/83/da/0a/83da0a444c3fd2e95e70859781a3d11f.jpg\">\u003cspan style=\"font-weight: 400\">the teacher in the \"...Baby One More Time\" music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41214\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-800x400.jpg\" alt=\"felicia-flounder-britney-ariel\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Flounder and Felicia are both known to accidentally rat their girls out.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png\" alt=\"Screen Shot 2016-10-10 at 5.39.48 PM\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-960x509.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM.png 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\" alt=\"eca23674b2c6d44da612b49bb9ded03d\" width=\"236\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d-160x207.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>Both Ariel and Britney are also followed around by a micromanager hired by their fathers to convince them that a controlled environment free of choice is better than the unknown of a life of their own choosing. For Ariel, it's Sebastian. For Britney, it's her current manager Larry Rudolph.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\">\u003cimg class=\"aligncenter wp-image-59440 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\" alt=\"Ariel---Sebastian-the-little-mermaid-45008_483_353\" width=\"483\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg 483w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-160x117.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-240x175.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-375x274.jpg 375w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-59439 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/brit_vma2.jpg\" alt=\"brit_vma2\" width=\"454\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-375x289.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003c/p>\n\u003cp>When Ariel fails to show up to the show at the beginning of the movie, Sebastian says, \"This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughingstock of the entire kingdom!\" Swap out \"entire kingdom\" for \"entire music industry\" and it's easily something that could come out of Larry Rudolph's mouth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every time Ariel and Britney sneak away from the pressures of being the princess of the sea and the princess of pop, they are hounded by sharks and the paparazzi, respectively.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\">\u003cimg class=\"aligncenter size-medium wp-image-41216\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\" alt=\"whoa-the-little-mermaid-32149733-500-303\" width=\"500\" height=\"303\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\">\u003cimg class=\"aligncenter size-full wp-image-41215\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\" alt=\"britney\" width=\"280\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>The first time Ariel sees Prince Eric, he's dancing and she's\u003cem> feeling\u003c/em> his moves.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\">\u003cimg class=\"aligncenter size-full wp-image-41218\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\" alt=\"EricReaction2\" width=\"422\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>The first time Britney laid eyes on future husband and baby daddy Kevin Federline, she was equally feeling it. Federline was a backup dancer for Michael Jackson, Destiny's Child, Pink, and none other than Justin Timberlake, Britney's ex. (Kevin is the one with the cornrows and sleeveless jacket.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\">\u003cimg class=\"aligncenter size-full wp-image-41217\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\" alt=\"kevin federline justin timberlake britney\" width=\"530\" height=\"356\">\u003c/a>\u003c/p>\n\u003cp>Triton didn't like Ariel's taste in men. And Britney's dad didn't like hers either. This convo between Ariel and Triton is something that probably happened in the Spears household:\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: Daddy, I love him!\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Have you lost your senses completely? He's a human (backup dancer), you're a mermaid (pop superstar)!\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: I don't care!\u003c/p>\n\u003cp>Both Ariel and Britney rebelled against their fathers' strict rules by hanging out with the wrong crowd. For Ariel, it was Ursula's henchmen, Flotsam and Jetsam. For Britney, it was Paris Hilton and Lindsay Lohan:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png\">\u003cimg class=\"aligncenter size-medium wp-image-41329\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png\" alt=\"ariel-flotsam-jetsam\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-41327\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault-400x300.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>Desperate to take control of their lives, both Ariel and Britney turned to a Svengali figure, who took advantage of them in their time of need. For Ariel, it was Ursula. For Britney, it was Sam Lutfi, a super shady dude who popped out of nowhere to enable her and try to make a buck off the situation by becoming her manager. He did something similar with Amanda Bynes and, as recently as last summer,\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3663105/Britney-Spears-controversial-ex-manager-Sam-Lutfi-kidnapped-robbed-estranged-musician-husband-Frances-Bean-Cobain.html\"> allegedly kidnapped and robbed Frances Bean Cobain's husband\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41337\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg\" alt=\"efaa1290-cbe2-0132-9a8a-0e01949ad350\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41338\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\" alt=\"LuftiBritney\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney-400x240.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>As a consequence of Ursula's meddling, Ariel literally lost her voice. Britney lost hers in a more figurative sense. As a response to Britney running around with Sam and getting into trouble, Britney's dad and Larry Rudolph probably had a conversation similar to this one between Triton and Sebastian:\u003c/p>\n\u003cp>\u003cstrong>Sebastian:\u003c/strong> Why, if Ariel was my daughter, I'd show her who was boss. None of this flitting to the surface (da club) and other such nonsense. No, sir. I'd keep her under tight control.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You're absolutely right, Sebastian. Ariel needs constant supervision.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>Constant.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Someone to watch over her, to keep her out of trouble.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>All the time.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: And YOU are just the crab (manager) to do it.\u003c/p>\n\u003cp>This is where Britney's conservatorship comes in, a legally binding document, much like the one Ariel signed with Ursula, which robbed Britney of her voice in the sense that she could no longer make her own decisions in terms of her life, her business, what songs she recorded, and basically everything else.\u003c/p>\n\u003cp>Sebastian sings a whole song called \"Under the Sea,\" trying to convince Ariel that she should just stay home and not do anything her father wouldn't approve of. Change the title to \"Under the Conservatorship\" (or \"Under the C,\" for short) and you basically have the same thing.\u003c/p>\n\u003cp>Conservatorship Day 1:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s.gif\" alt=\"ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s\" width=\"690\" height=\"388\">\u003c/p>\n\u003cp>Ariel's big hit is \"Part of Your World,\" in which she laments that, despite a life of privilege and spoils, there's still a deep loneliness inside her:\u003c/p>\n\u003cblockquote>\u003cp>Look at this stuff\u003cbr>\nIsn't it neat?\u003cbr>\nWouldn't you think my collection's complete?\u003cbr>\nWouldn't you think I'm the girl\u003cbr>\nThe girl who has everything?\u003c/p>\u003c/blockquote>\n\u003cp>This idea of having it all but still being unhappy is also present throughout Britney Jean Spears' life, and infused in one of her most iconic songs, \"Lucky\":\u003c/p>\n\u003cblockquote>\u003cp>She's so lucky, she's a star\u003cbr>\nBut she cry, cry, cries in her lonely heart, thinking\u003cbr>\nIf there's nothing missing in my life\u003cbr>\nThen why do these tears come at night?\u003c/p>\u003c/blockquote>\n\u003cp>Here's another overlap. Ariel sings:\u003c/p>\n\u003cblockquote>\u003cp>I've got gadgets and gizmos aplenty\u003cbr>\nI've got whozits and whatzits galore\u003cbr>\n[You want thingamabobs? I got twenty]\u003cbr>\nBut who cares?\u003cbr>\nNo big deal\u003cbr>\nI want more\u003c/p>\u003c/blockquote>\n\u003cp>You know who else wants more? Britney!\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/elueA2rofoo'\n title='//www.youtube.com/embed/elueA2rofoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Part of Your World\" could also be about Britney's desire to just be a regular person who can go to a Starbucks:\u003c/p>\n\u003cblockquote>\u003cp>I wanna be where the people are\u003cbr>\nI wanna see\u003cbr>\nWanna see 'em [sippin' grande lattes]\u003c/p>\u003c/blockquote>\n\u003cp>Or a beach:\u003c/p>\n\u003cblockquote>\u003cp>What would I give\u003cbr>\nIf I could live\u003cbr>\nOutta these waters?\u003cbr>\nWhat would I pay\u003cbr>\nTo spend a day\u003cbr>\nWarm on the sand?\u003c/p>\u003c/blockquote>\n\u003cp>Or anywhere else, without being hounded by paparazzi:\u003c/p>\n\u003cblockquote>\u003cp>Up where they walk\u003cbr>\nUp where they run\u003cbr>\nUp where they stay all day in the sun\u003cbr>\nWanderin' free\u003cbr>\nWish I could be\u003cbr>\nPart of that world\u003c/p>\u003c/blockquote>\n\u003cp>One of my favorite parts of \"Part of Your World\" is when Ariel gets super feminist:\u003c/p>\n\u003cblockquote>\u003cp>Betcha on land\u003cbr>\nThey understand\u003cbr>\nBet they don't reprimand their daughters\u003cbr>\nBright young women\u003cbr>\nSick o' swimmin'\u003cbr>\nReady to stand\u003c/p>\u003c/blockquote>\n\u003cp>Britney also has a song all about being ready to stand up and claim her agency:\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/dIOH8Trfas4'\n title='//www.youtube.com/embed/dIOH8Trfas4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eventually, after hitting rock bottom...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\">\u003cimg class=\"aligncenter size-full wp-image-58263\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\" alt=\"ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d\" width=\"690\" height=\"388\">\u003c/a>\u003c/p>\n\u003cp>...both women find their way to a more-or-less happy ending.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\u003cp>Triton and Britney's dad both realize that it might be a good idea to let their adult daughters be in charge of their own lives.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: Well, it's like I always say, Your Majesty. Children got to be free to lead their own lives.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You... always say that? \u003ci>[sighs]\u003c/i> Then I guess there's just one problem left.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: And what's that, Your Majesty?\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: How much I'm going to miss her.\u003c/p>\n\u003cp>Triton grants Ariel legs so she can live above sea level and marry Eric. And, last year, Britney was freed to get back to making her own decisions in terms of her music career. She was able to call all the shots and have complete control over her last album, \u003cem>Glory\u003c/em>, and it's her best album since the conservatorship was put in place.\u003c/p>\n\u003cp>These are just some of the reasons why I believe \u003cem>The Little Mermaid\u003c/em> predicted Britney's entire life. Not completely convinced yet? Here are a few last parallels:\u003c/p>\n\u003cp>Dogs love them:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\">\u003cimg class=\"aligncenter size-large wp-image-58270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\" alt=\"img_0994\" width=\"522\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994.jpg 522w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-520x312.jpg 520w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\" alt=\"celebrities-kissing-dogs-11282011-26-675x538\" width=\"675\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg 675w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-240x191.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-375x299.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-520x414.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003c/a>\u003c/p>\n\u003cp>Both have been known to deeply feel themselves in a bad look:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png\">\u003cimg class=\"aligncenter size-medium wp-image-41194\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png\" alt=\"Screen Shot 2016-10-10 at 9.36.56 PM\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1440x805.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\" alt=\"3d68d30837aed0ec6f9da730e30f7953\" width=\"236\" height=\"359\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953-160x243.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>And both have replicas that look nothing like them.\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41195\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png\" alt=\"Screen Shot 2016-10-10 at 6.37.27 PM\" width=\"800\" height=\"423\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-768x406.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-1180x624.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58266\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\" alt=\"photo\" width=\"768\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-520x693.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I rest my case.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Britney Spears and Ariel Are Basically the Same Person",
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"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Did \u003cem>The Little Mermaid\u003c/em> predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out!\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/01/Britariel.mp3\" title=\"Why Britney Spears and Ariel Are Basically the Same Person\" 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>We start things off with a theory that everything that's happened to Britney Spears happened to Ariel first:\u003c/p>\n\u003cblockquote class=\"embedly-card\">\n\u003ch4>\u003ca href=\"https://ww2.kqed.org/pop/2017/01/19/how-the-little-mermaid-predicted-britney-spears-entire-life/\">How ‘The Little Mermaid’ Predicted Britney Spears’ Entire Life\u003c/a>\u003c/h4>\n\u003cp>A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.\u003c/p>\u003c/blockquote>\n\u003cp>[embedly_js]\u003c/p>\n\u003cp>We discuss a new study that claims that people who swear are more worthy of trust:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\">\u003cimg class=\"aligncenter size-full wp-image-59495\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\" alt=\"adele swear\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We share our favorite pop culture cursing moments:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l1dnqKGuezo\u003c/p>\n\u003cp>And we ride out on \"Stand Back\" by Stevie Nicks (because why not):\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bwdDVZsz2es\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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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"excerpt": "Did 'The Little Mermaid' predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did \u003cem>The Little Mermaid\u003c/em> predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>We start things off with a theory that everything that's happened to Britney Spears happened to Ariel first:\u003c/p>\n\u003cblockquote class=\"embedly-card\">\n\u003ch4>\u003ca href=\"https://ww2.kqed.org/pop/2017/01/19/how-the-little-mermaid-predicted-britney-spears-entire-life/\">How ‘The Little Mermaid’ Predicted Britney Spears’ Entire Life\u003c/a>\u003c/h4>\n\u003cp>A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.\u003c/p>\u003c/blockquote>\n\u003cp>[embedly_js]\u003c/p>\n\u003cp>We discuss a new study that claims that people who swear are more worthy of trust:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\">\u003cimg class=\"aligncenter size-full wp-image-59495\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\" alt=\"adele swear\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We share our favorite pop culture cursing moments:\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/l1dnqKGuezo'\n title='//www.youtube.com/embed/l1dnqKGuezo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And we ride out on \"Stand Back\" by Stevie Nicks (because why not):\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/bwdDVZsz2es'\n title='//www.youtube.com/embed/bwdDVZsz2es'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Middle East Meets West (Oakland) at Party-On-the-Rise Club Chai",
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"content": "\u003cp>The first \u003ca href=\"https://www.facebook.com/clubchaibayarea/?qsefr=1\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a> party that DJs 8ULENTINA and foozool threw at a West Oakland warehouse was the sort of event that makes nightlife feel like a spiritual experience.\u003c/p>\n\u003cp>The lineup at its January 2016 party was eclectic, to say the least: The founders — both also music producers — mixed club music, hip-hop, and dancehall with traditional rhythms from their respective heritages. (8ULENTINA is of Turkish and Jewish-American descent, and foozool is Armenian-American by way of Iran.)\u003c/p>\n\u003cp>This take on club music — using it as a place to excavate and reimagine traditional sounds through a modern, multicultural lens — is challenging. But the other DJs at their debut party came ready to surpass that bar. San Jose’s Turbo Sonidero spun electronic cumbia. DJ Haram, who flew in from Philadelphia, left the room humid with sweat after her breakneck Jersey club set. And the audience was just as diverse as the performers, who also included Oakland’s Neto 187 and Jasmine Infiniti.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2031785908/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Just a year later, Club Chai has evolved past its warehouse-party beginnings. Its \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/21/club-chai-1-year-anniversary-compilation-release-party\" target=\"_blank\" rel=\"noopener\">anniversary party\u003c/a>, which takes place at Oakland’s Starline Social Club on Saturday, Jan. 21, also serves as the release event for its first compilation, \u003cem>\u003ca href=\"https://clubchai.bandcamp.com/album/club-chai-vol-1\" target=\"_blank\" rel=\"noopener\">Club Chai Vol. 1\u003c/a>, \u003c/em>which dropped online Jan. 17\u003cem>. \u003c/em>This and other recent projects are the first steps towards transforming the underground club night into a label — and, if the duo’s dreams are realized, a wholly international, multi-disciplinary brand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We started with the warehouse parties, but we both had a similar vision for it and we knew it was gonna be something that’s gonna branch out,” explains foozool, a 24-year-old San Francisco native, when I meet her at 8ULENTINA’s West Oakland studio on a recent drizzly evening. (Both artists requested to not use their real names for this story.)\u003c/p>\n\u003cp>“I think whenever you do something that’s based in DIY or warehouse or underground, you know it’s gonna be temporary, especially the space you’re using,” says 8ULENTINA, who is 26 and originally from San Diego. “So I think we were always like, ‘How can Club Chai eventually be something that supports people beyond the club nights that we’re doing?’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1378299782/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>After meeting through mutual friends, the pair initially bonded over a shared desire to connect with their respective cultural backgrounds through experimental video and music. After creating the audiovisual mixtape \u003cem>Border_Convos\u003c/em> for the creative collective Browntourage, they began to collaborate on events — first with that collective, and then on their own as Club Chai.\u003c/p>\n\u003cp>The recurring dance party now has a permanent home at Starline Social Club, and 8ULENTINA and foozool have taken it to Los Angeles and London. But the co-founders have also been busy devising ways to expand Club Chai beyond the ephemeral experience of a club night.\u003c/p>\n\u003cp>“We just finished making a mix for Rinse FM,” says foozool, gesturing towards the open audio file on her MacBook screen as 8ULENTINA fixes me a cup of tea. We sit down at their studio table, which is almost entirely taken over by a set of Pioneer CDJs — CD turntables that also function as DJ controllers.\u003c/p>\n\u003cp>Rinse FM, 8ULENTINA explains, is a UK station that started out as pirate radio but eventually got its FM license. “They put on a lot of grime artists,” says 8ULENTINA. “But now they’re branching out to a lot of different sounds and respecting the club scene more internationally. It’s amazing to get the opportunity to play an FM radio mix and be like, ‘There’s people in their cars listening to this.’”\u003c/p>\n\u003cp>The two artists’ overseas appeal is growing, as well; they now host a monthly online radio show on London’s Radar Radio, which they use to showcase up-and-coming electronic talent from the Bay Area. The deftness with which they blend local music with influence from all over the globe — artists they consider part of the Club Chai “extended family” — is apparent in the choices they made selecting tracks for \u003cem>Club Chai Vol. 1\u003c/em>.\u003c/p>\n\u003cp>The compilation puts Bay Area artists at the vanguard of the local electronic music scene — such as Russell E.L. Butler, Jasmine Infiniti, Spellling, and Turbo Sonidero — in dialogue with like-minded folks from a far-reaching range of other underground scenes, like New York’s Stud1nt, Uruguay’s Lechuga Zafino, and Chicago’s Ariel Zetina. The comp features 21 artists in total.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3228184683/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“People don’t always acknowledge that there’s a club culture in the Bay, or that there’s club music coming out of the Bay that has a [specific] sound,” 8ULENTINA reflects. “I think it’s important to be like, ‘We’re out here on the West Coast, we’re making club music, we’re putting on club nights. We’re friends with a lot of these people on the East Coast and in other countries, and we’re all playing each other’s music.’”\u003c/p>\n\u003cp>In cities like New York, argues the duo, mainstream institutions support underground club culture in ways that Bay Area institutions simply don’t. For example, MoMA PS1 hosted an edition of DJ Haram’s Philadelphia party, ATM, in November 2016. And the UK Arts Council gave the British label Tobago Tracks the necessary grant to fly out 8ULENTINA and foozool for the London edition of Club Chai the same month.\u003c/p>\n\u003cp>London partygoers’ response to Club Chai blew the two DJs away. “People there turn up in the club to Middle Eastern music, and I feel like here it took a bit of convincing,” says 8ULENTINA.\u003c/p>\n\u003cp>“It went really well,” interjects foozool. “We were overwhelmed.”\u003c/p>\n\u003cp>Club Chai has always been a bit difficult to define. While the project’s founders and many of their collaborators are of Middle Eastern descent, it celebrates cultural exchange among creators from non-Western backgrounds on a broader level. And while it has a heavy queer and trans presence, it’s never been an explicitly queer party or platform.\u003c/p>\n\u003cp>Thankfully, 8ULENTINA and foozool don’t seem all that interested in streamlining their message into a digestible soundbite. They’re too busy expanding Club Chai, envisioning beyond the club night and record label to become a curatorial platform that will eventually put on art shows and film screenings.\u003c/p>\n\u003cp>It might be tough to sum up in a sentence. But a resistance to following rules or a template is exactly what made that inaugural Club Chai party so exhilarating one year ago — and, as it grows, that’s what its founders hope will keep the sweaty, liberating magic alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Club Chai’s anniversary and compilation release party takes place this Saturday, Jan. 21, at the Starline Social Club in Oakland. Free; \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/21/club-chai-1-year-anniversary-compilation-release-party\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first \u003ca href=\"https://www.facebook.com/clubchaibayarea/?qsefr=1\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a> party that DJs 8ULENTINA and foozool threw at a West Oakland warehouse was the sort of event that makes nightlife feel like a spiritual experience.\u003c/p>\n\u003cp>The lineup at its January 2016 party was eclectic, to say the least: The founders — both also music producers — mixed club music, hip-hop, and dancehall with traditional rhythms from their respective heritages. (8ULENTINA is of Turkish and Jewish-American descent, and foozool is Armenian-American by way of Iran.)\u003c/p>\n\u003cp>This take on club music — using it as a place to excavate and reimagine traditional sounds through a modern, multicultural lens — is challenging. But the other DJs at their debut party came ready to surpass that bar. San Jose’s Turbo Sonidero spun electronic cumbia. DJ Haram, who flew in from Philadelphia, left the room humid with sweat after her breakneck Jersey club set. And the audience was just as diverse as the performers, who also included Oakland’s Neto 187 and Jasmine Infiniti.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2031785908/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Just a year later, Club Chai has evolved past its warehouse-party beginnings. Its \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/21/club-chai-1-year-anniversary-compilation-release-party\" target=\"_blank\" rel=\"noopener\">anniversary party\u003c/a>, which takes place at Oakland’s Starline Social Club on Saturday, Jan. 21, also serves as the release event for its first compilation, \u003cem>\u003ca href=\"https://clubchai.bandcamp.com/album/club-chai-vol-1\" target=\"_blank\" rel=\"noopener\">Club Chai Vol. 1\u003c/a>, \u003c/em>which dropped online Jan. 17\u003cem>. \u003c/em>This and other recent projects are the first steps towards transforming the underground club night into a label — and, if the duo’s dreams are realized, a wholly international, multi-disciplinary brand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We started with the warehouse parties, but we both had a similar vision for it and we knew it was gonna be something that’s gonna branch out,” explains foozool, a 24-year-old San Francisco native, when I meet her at 8ULENTINA’s West Oakland studio on a recent drizzly evening. (Both artists requested to not use their real names for this story.)\u003c/p>\n\u003cp>“I think whenever you do something that’s based in DIY or warehouse or underground, you know it’s gonna be temporary, especially the space you’re using,” says 8ULENTINA, who is 26 and originally from San Diego. “So I think we were always like, ‘How can Club Chai eventually be something that supports people beyond the club nights that we’re doing?’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1378299782/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>After meeting through mutual friends, the pair initially bonded over a shared desire to connect with their respective cultural backgrounds through experimental video and music. After creating the audiovisual mixtape \u003cem>Border_Convos\u003c/em> for the creative collective Browntourage, they began to collaborate on events — first with that collective, and then on their own as Club Chai.\u003c/p>\n\u003cp>The recurring dance party now has a permanent home at Starline Social Club, and 8ULENTINA and foozool have taken it to Los Angeles and London. But the co-founders have also been busy devising ways to expand Club Chai beyond the ephemeral experience of a club night.\u003c/p>\n\u003cp>“We just finished making a mix for Rinse FM,” says foozool, gesturing towards the open audio file on her MacBook screen as 8ULENTINA fixes me a cup of tea. We sit down at their studio table, which is almost entirely taken over by a set of Pioneer CDJs — CD turntables that also function as DJ controllers.\u003c/p>\n\u003cp>Rinse FM, 8ULENTINA explains, is a UK station that started out as pirate radio but eventually got its FM license. “They put on a lot of grime artists,” says 8ULENTINA. “But now they’re branching out to a lot of different sounds and respecting the club scene more internationally. It’s amazing to get the opportunity to play an FM radio mix and be like, ‘There’s people in their cars listening to this.’”\u003c/p>\n\u003cp>The two artists’ overseas appeal is growing, as well; they now host a monthly online radio show on London’s Radar Radio, which they use to showcase up-and-coming electronic talent from the Bay Area. The deftness with which they blend local music with influence from all over the globe — artists they consider part of the Club Chai “extended family” — is apparent in the choices they made selecting tracks for \u003cem>Club Chai Vol. 1\u003c/em>.\u003c/p>\n\u003cp>The compilation puts Bay Area artists at the vanguard of the local electronic music scene — such as Russell E.L. Butler, Jasmine Infiniti, Spellling, and Turbo Sonidero — in dialogue with like-minded folks from a far-reaching range of other underground scenes, like New York’s Stud1nt, Uruguay’s Lechuga Zafino, and Chicago’s Ariel Zetina. The comp features 21 artists in total.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3228184683/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“People don’t always acknowledge that there’s a club culture in the Bay, or that there’s club music coming out of the Bay that has a [specific] sound,” 8ULENTINA reflects. “I think it’s important to be like, ‘We’re out here on the West Coast, we’re making club music, we’re putting on club nights. We’re friends with a lot of these people on the East Coast and in other countries, and we’re all playing each other’s music.’”\u003c/p>\n\u003cp>In cities like New York, argues the duo, mainstream institutions support underground club culture in ways that Bay Area institutions simply don’t. For example, MoMA PS1 hosted an edition of DJ Haram’s Philadelphia party, ATM, in November 2016. And the UK Arts Council gave the British label Tobago Tracks the necessary grant to fly out 8ULENTINA and foozool for the London edition of Club Chai the same month.\u003c/p>\n\u003cp>London partygoers’ response to Club Chai blew the two DJs away. “People there turn up in the club to Middle Eastern music, and I feel like here it took a bit of convincing,” says 8ULENTINA.\u003c/p>\n\u003cp>“It went really well,” interjects foozool. “We were overwhelmed.”\u003c/p>\n\u003cp>Club Chai has always been a bit difficult to define. While the project’s founders and many of their collaborators are of Middle Eastern descent, it celebrates cultural exchange among creators from non-Western backgrounds on a broader level. And while it has a heavy queer and trans presence, it’s never been an explicitly queer party or platform.\u003c/p>\n\u003cp>Thankfully, 8ULENTINA and foozool don’t seem all that interested in streamlining their message into a digestible soundbite. They’re too busy expanding Club Chai, envisioning beyond the club night and record label to become a curatorial platform that will eventually put on art shows and film screenings.\u003c/p>\n\u003cp>It might be tough to sum up in a sentence. But a resistance to following rules or a template is exactly what made that inaugural Club Chai party so exhilarating one year ago — and, as it grows, that’s what its founders hope will keep the sweaty, liberating magic alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Club Chai’s anniversary and compilation release party takes place this Saturday, Jan. 21, at the Starline Social Club in Oakland. Free; \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/21/club-chai-1-year-anniversary-compilation-release-party\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two strong new albums by Southern California-based jazz masters explore some of their abiding passions and concerns. The latest posthumous release by bass legend Charlie Haden, who died at the age of 76 in 2014, is a gorgeous and deeply melancholy outing on the Impulse! label by his 12-piece Liberation Music Orchestra, “Time/Life (Songs for the Whales and Other Beings).\"\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11268448\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-800x800.jpg\" alt=\"charlie-haden-time-life\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Liberation Music Orchestra albums are kind of like the Halley’s Comet of jazz, blazing across the scene infrequently and appearing as a harbinger of catastrophe. Haden had already helped change the face of jazz through his work with the epochal Ornette Coleman quartet when he released his first album as a leader in 1969, “Liberation Music Orchestra,” a collaboration with pianist, composer and arranger Carla Bley, one of the great creative partnerships in American music. Every decade or so since then, they’ve teamed up for another LMO project, timing that coincided with the advent of Republican presidencies (Haden was an outspoken leftist).\u003c/p>\n\u003cp>The first CD I ever reviewed for \u003cem>The California Report\u003c/em> was the last LMO release, 2005’s “\u003ca href=\"http://audio.californiareport.org/archive/R511181630/c\">Not In Our\u003c/a> \u003ca href=\"http://audio.californiareport.org/archive/R511181630/c\">Name\u003c/a>,” the bassist’s response to the war in Iraq, and many of the same musicians from that memorable session return for this outing (the band’s fifth release).\u003c/p>\n\u003cp>Inspired by Haden’s commitment to environmentalism, \"Time/Life\" opens with Bley’s sumptuous arrangement of Miles Davis’ “Blue in Green” and closes with Haden’s epic “Song for the Whales,” which keys on an eerie, keening arco solo by the bassist that evokes the cries of the aquatic mammals. Those tracks were recorded in concert in Belgium in 2011, while Bley recorded the three central pieces after Haden’s death with the same exceptional cast (and her longtime partner Steve Swallow on bass).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MCVXcOH3wkE\u003c/p>\n\u003cp>The album’s centerpiece is a vivid reworking of “Silent Spring,” a piece Bley wrote for the classic 1967 Gary Burton album “A Genuine Tong Funeral,” which made her reputation as a composer. Opening with a spare, beautifully considered guitar solo by Steve Cardenas, the piece builds to a breathtaking trumpet lament by Michael Rodriguez that seems to mourn the degradation of nature while celebrating its wonder.\u003c/p>\n\u003cp>If the mood on \"Time/Life\" is baleful, guitarist Kenny Burrell sounds like he’s having the time of his life on \"Unlimited 1,\" which was recorded live at Catalina's in Hollywood. Joining forces with Charley Harrison and Bobby Rodriguez’s Los Angeles Jazz Orchestra Unlimited, which brings together a top-shelf cast of Los Angeles players, Burrell uses the ensemble as a showcase for his various musical interests.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-12622583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BurrellUnlimited1-800x800.jpg\" alt=\"burrellunlimited1\" width=\"800\" height=\"800\">\u003c/p>\n\u003cp>The set opens with a big brassy arrangement of Oliver Nelson's standard \"Stolen Moments,\" arranged by Berkeley-raised tenor saxophonist Hitomi Oba (who studied with Burrell at UCLA). He spreads solos around generously, but Burrell is the primary voice and he sounds great at 85, even providing vocals on several tracks, like a brisk and ebullient version of Duke Pearson and Oscar Brown Jr.'s standard, \"Jeannine.\"\u003c/p>\n\u003cp>One of jazz’s most prolific and esteemed guitarists, Burrell has recorded more than 100 albums as a leader and hundreds more as a sideman with jazz legends such as Coleman Hawkins, Billie Holiday, John Coltrane, Jimmy Smith and Bill Evans. Famously cited by Duke Ellington as his favorite guitarist, he came up on the vibrant post-World War II Detroit scene and made an auspicious recording debut with Dizzy Gillespie in 1951.\u003c/p>\n\u003cp>He’s maintained an improbably high standard throughout the decades, and if “Unlimited 1” isn’t essential Burrell, it’s a fine representation of a jazz lion in winter who’s still a sleek and soulful improviser (for stone cold classic Kenny Burrell, check out 1965's \"Guitar Forms\" or 1963's \"Midnight Blue\").\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wQyHxVTXVrM\u003c/p>\n\u003cp>A pioneering jazz educator and longtime UCLA professor -- he taught the first American university course ever offered on the music of Duke Ellington back in the 1970s -- Burrell delivers a welcome dose of Ellington with a Billy Strayhorn medley threading the ballad \"Passion Flower\" with the immortal theme \"Take the 'A' Train.\" The show closes with Mercer Ellington’s “Things Ain’t What They Used to Be,” featuring the blues-steeped vocals of Barbara Morrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s end with a shoutout to the veteran arranger Buddy Bregman, who died recently at the age of 86. He dropped out of UCLA to work with impresario Norman Granz’s new label Verve, and was one of the mainstays of the golden age of Hollywood studio sessions, collaborating with singers like Bing Crosby, Rosemary Clooney, Sammy Davis Jr., Fred Astaire and, most memorably, Ella Fitzgerald.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two strong new albums by Southern California-based jazz masters explore some of their abiding passions and concerns. The latest posthumous release by bass legend Charlie Haden, who died at the age of 76 in 2014, is a gorgeous and deeply melancholy outing on the Impulse! label by his 12-piece Liberation Music Orchestra, “Time/Life (Songs for the Whales and Other Beings).\"\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11268448\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-800x800.jpg\" alt=\"charlie-haden-time-life\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/Charlie-Haden-Time-Life-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Liberation Music Orchestra albums are kind of like the Halley’s Comet of jazz, blazing across the scene infrequently and appearing as a harbinger of catastrophe. Haden had already helped change the face of jazz through his work with the epochal Ornette Coleman quartet when he released his first album as a leader in 1969, “Liberation Music Orchestra,” a collaboration with pianist, composer and arranger Carla Bley, one of the great creative partnerships in American music. Every decade or so since then, they’ve teamed up for another LMO project, timing that coincided with the advent of Republican presidencies (Haden was an outspoken leftist).\u003c/p>\n\u003cp>The first CD I ever reviewed for \u003cem>The California Report\u003c/em> was the last LMO release, 2005’s “\u003ca href=\"http://audio.californiareport.org/archive/R511181630/c\">Not In Our\u003c/a> \u003ca href=\"http://audio.californiareport.org/archive/R511181630/c\">Name\u003c/a>,” the bassist’s response to the war in Iraq, and many of the same musicians from that memorable session return for this outing (the band’s fifth release).\u003c/p>\n\u003cp>Inspired by Haden’s commitment to environmentalism, \"Time/Life\" opens with Bley’s sumptuous arrangement of Miles Davis’ “Blue in Green” and closes with Haden’s epic “Song for the Whales,” which keys on an eerie, keening arco solo by the bassist that evokes the cries of the aquatic mammals. Those tracks were recorded in concert in Belgium in 2011, while Bley recorded the three central pieces after Haden’s death with the same exceptional cast (and her longtime partner Steve Swallow on bass).\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/MCVXcOH3wkE'\n title='//www.youtube.com/embed/MCVXcOH3wkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album’s centerpiece is a vivid reworking of “Silent Spring,” a piece Bley wrote for the classic 1967 Gary Burton album “A Genuine Tong Funeral,” which made her reputation as a composer. Opening with a spare, beautifully considered guitar solo by Steve Cardenas, the piece builds to a breathtaking trumpet lament by Michael Rodriguez that seems to mourn the degradation of nature while celebrating its wonder.\u003c/p>\n\u003cp>If the mood on \"Time/Life\" is baleful, guitarist Kenny Burrell sounds like he’s having the time of his life on \"Unlimited 1,\" which was recorded live at Catalina's in Hollywood. Joining forces with Charley Harrison and Bobby Rodriguez’s Los Angeles Jazz Orchestra Unlimited, which brings together a top-shelf cast of Los Angeles players, Burrell uses the ensemble as a showcase for his various musical interests.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-12622583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BurrellUnlimited1-800x800.jpg\" alt=\"burrellunlimited1\" width=\"800\" height=\"800\">\u003c/p>\n\u003cp>The set opens with a big brassy arrangement of Oliver Nelson's standard \"Stolen Moments,\" arranged by Berkeley-raised tenor saxophonist Hitomi Oba (who studied with Burrell at UCLA). He spreads solos around generously, but Burrell is the primary voice and he sounds great at 85, even providing vocals on several tracks, like a brisk and ebullient version of Duke Pearson and Oscar Brown Jr.'s standard, \"Jeannine.\"\u003c/p>\n\u003cp>One of jazz’s most prolific and esteemed guitarists, Burrell has recorded more than 100 albums as a leader and hundreds more as a sideman with jazz legends such as Coleman Hawkins, Billie Holiday, John Coltrane, Jimmy Smith and Bill Evans. Famously cited by Duke Ellington as his favorite guitarist, he came up on the vibrant post-World War II Detroit scene and made an auspicious recording debut with Dizzy Gillespie in 1951.\u003c/p>\n\u003cp>He’s maintained an improbably high standard throughout the decades, and if “Unlimited 1” isn’t essential Burrell, it’s a fine representation of a jazz lion in winter who’s still a sleek and soulful improviser (for stone cold classic Kenny Burrell, check out 1965's \"Guitar Forms\" or 1963's \"Midnight Blue\").\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/wQyHxVTXVrM'\n title='//www.youtube.com/embed/wQyHxVTXVrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A pioneering jazz educator and longtime UCLA professor -- he taught the first American university course ever offered on the music of Duke Ellington back in the 1970s -- Burrell delivers a welcome dose of Ellington with a Billy Strayhorn medley threading the ballad \"Passion Flower\" with the immortal theme \"Take the 'A' Train.\" The show closes with Mercer Ellington’s “Things Ain’t What They Used to Be,” featuring the blues-steeped vocals of Barbara Morrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s end with a shoutout to the veteran arranger Buddy Bregman, who died recently at the age of 86. He dropped out of UCLA to work with impresario Norman Granz’s new label Verve, and was one of the mainstays of the golden age of Hollywood studio sessions, collaborating with singers like Bing Crosby, Rosemary Clooney, Sammy Davis Jr., Fred Astaire and, most memorably, Ella Fitzgerald.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Diego High Schoolers Bring California Sounds to Washington",
"title": "San Diego High Schoolers Bring California Sounds to Washington",
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"content": "\u003cp>\u003cem>A group of high school musicians, singers and dancers from San Diego are performing at a special inauguration luncheon put on by the \u003ca href=\"http://www.californiastatesociety.com/\">California State Society\u003c/a> this week. It’s a nonpartisan event to highlight California culture and celebrate its role on the national stage. We dropped in at a jazz band rehearsal with kids from the San Diego School of Creative and Performing Arts (SCPA), who are playing two Duke Ellington songs: “I Didn’t Know about You” and “Play the Blues and Go.\"\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302609776\" 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>\u003cstrong>Emma Christie Foster, vocals\u003c/strong>:\u003cbr>\nWe're going there and we're trying to convey a message of love, and compassion and kindness for everyone. We’re not going in anger. We just want to bring music and dance and happiness to the table at a time when things like that are kind of iffy.\u003c/p>\n\u003cp>\u003cstrong>Johncarlo Grady, drums\u003c/strong>:\u003cbr>\nWe're just trying to show how unique and diverse California is, and say we are still here.\u003c/p>\n\u003cfigure id=\"attachment_11274163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274163\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/JCGrady-800x548.jpg\" alt=\"Johncarlo Grady plays drums in the SCPA jazz band.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1180x808.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-240x164.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johncarlo Grady plays drums in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Alvin Paige, saxophone\u003c/strong>:\u003cbr>\nDue to the controversy surrounding the president-elect, we want to show how California does it culturally. And show that we’re still here, we’re strong, and support all the people that need support at this time, all the different communities. It’s a difficult time for a lot of people, so we’re there to help and support.\u003c/p>\n\u003cfigure id=\"attachment_11274228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274228\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg\" alt=\"Alvin Paige plays saxophone in the SCPA jazz band.\" width=\"800\" height=\"1019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-160x204.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1020x1299.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1180x1503.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-960x1223.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-240x306.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-375x478.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-520x662.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alvin Paige plays saxophone in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tate McKay, guitar \u003c/strong>:\u003cbr>\nWe're representing that California's still here, that we still have a voice.\u003c/p>\n\u003cfigure id=\"attachment_11274231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274231\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/TateGuitar-800x555.jpg\" alt=\"Tate McKay, guitarist in the SCPA jazz band. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tate McKay, guitarist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ashley Del Castillo, bass\u003c/strong>:\u003cbr>\nI just want to go and prove to D.C. and everyone else there from California that SCPA can swing, and we can still preserve through at time of conflict.\u003c/p>\n\u003cfigure id=\"attachment_11274233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AshleyBass-800x620.jpg\" alt=\"Ashley Del Castillo, bassist in the SCPA jazz band. \" width=\"800\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-800x620.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1020x790.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1180x914.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-960x744.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Del Castillo, bassist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dalina Canton, dancer\u003c/strong>:\u003cbr>\nThe arts are a vital portion in someone’s life, and can be a great outlet to show sadness or love or happiness or great feelings in the world. What we have to bring for SCPA and California is, we are still here. Regardless of who is in the White House, as long as you have something in your life, as long as you have a musical portion in your life, it’s always going to be OK.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eliana Krasner, dancer\u003c/strong>:\u003cbr>\nWe’re showing a message that California is here to represent and celebrate all the culture and diversity. I think it’s important for the rest of the country to realize that culture and diversity is what brings us together. That’s what America is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A group of high school musicians, singers and dancers from San Diego are performing at a special inauguration luncheon put on by the \u003ca href=\"http://www.californiastatesociety.com/\">California State Society\u003c/a> this week. It’s a nonpartisan event to highlight California culture and celebrate its role on the national stage. We dropped in at a jazz band rehearsal with kids from the San Diego School of Creative and Performing Arts (SCPA), who are playing two Duke Ellington songs: “I Didn’t Know about You” and “Play the Blues and Go.\"\u003c/em>\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/302609776&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/302609776'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Emma Christie Foster, vocals\u003c/strong>:\u003cbr>\nWe're going there and we're trying to convey a message of love, and compassion and kindness for everyone. We’re not going in anger. We just want to bring music and dance and happiness to the table at a time when things like that are kind of iffy.\u003c/p>\n\u003cp>\u003cstrong>Johncarlo Grady, drums\u003c/strong>:\u003cbr>\nWe're just trying to show how unique and diverse California is, and say we are still here.\u003c/p>\n\u003cfigure id=\"attachment_11274163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274163\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/JCGrady-800x548.jpg\" alt=\"Johncarlo Grady plays drums in the SCPA jazz band.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1180x808.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-240x164.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johncarlo Grady plays drums in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Alvin Paige, saxophone\u003c/strong>:\u003cbr>\nDue to the controversy surrounding the president-elect, we want to show how California does it culturally. And show that we’re still here, we’re strong, and support all the people that need support at this time, all the different communities. It’s a difficult time for a lot of people, so we’re there to help and support.\u003c/p>\n\u003cfigure id=\"attachment_11274228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274228\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg\" alt=\"Alvin Paige plays saxophone in the SCPA jazz band.\" width=\"800\" height=\"1019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-160x204.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1020x1299.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1180x1503.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-960x1223.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-240x306.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-375x478.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-520x662.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alvin Paige plays saxophone in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tate McKay, guitar \u003c/strong>:\u003cbr>\nWe're representing that California's still here, that we still have a voice.\u003c/p>\n\u003cfigure id=\"attachment_11274231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274231\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/TateGuitar-800x555.jpg\" alt=\"Tate McKay, guitarist in the SCPA jazz band. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tate McKay, guitarist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ashley Del Castillo, bass\u003c/strong>:\u003cbr>\nI just want to go and prove to D.C. and everyone else there from California that SCPA can swing, and we can still preserve through at time of conflict.\u003c/p>\n\u003cfigure id=\"attachment_11274233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AshleyBass-800x620.jpg\" alt=\"Ashley Del Castillo, bassist in the SCPA jazz band. \" width=\"800\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-800x620.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1020x790.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1180x914.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-960x744.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Del Castillo, bassist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dalina Canton, dancer\u003c/strong>:\u003cbr>\nThe arts are a vital portion in someone’s life, and can be a great outlet to show sadness or love or happiness or great feelings in the world. What we have to bring for SCPA and California is, we are still here. Regardless of who is in the White House, as long as you have something in your life, as long as you have a musical portion in your life, it’s always going to be OK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eliana Krasner, dancer\u003c/strong>:\u003cbr>\nWe’re showing a message that California is here to represent and celebrate all the culture and diversity. I think it’s important for the rest of the country to realize that culture and diversity is what brings us together. That’s what America is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nautical-noise-yachting-against-cultural-displacement",
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"content": "\u003cp>The upper deck of 90-foot party yacht the Empress of Sausalito looks and sounds like a misfiring spaceship engine.\u003c/p>\n\u003cp>Hovering over a thicket of wires on folding tables, two longhairs in shades conjure skittish blips with luminous, homemade sound wands. And as strobe lights begin to flare in and out of phase with a gut-grabbing barrage of low-end kick, Angel Island passes by the starboard window. Thirty-some passengers suspect the surf just got choppier.\u003c/p>\n\u003cp>“I’m in a delicate space up here,” says Captain Augustino, a San Francisco Bay lifer idly steering with one foot in the dark wheelhouse. “So it’s nice to hear these random tones rather than copy-and-paste rap, or rock, which I think is really dead. … There are these abstract correlations with how I’m feeling, like, what I feel and what I think are clashing. This music is like that.”\u003c/p>\n\u003cfigure id=\"attachment_12636273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg\" alt=\"MSHR\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re attending, or unwittingly participating in, an installation-cum-social experiment dubbed \u003ca href=\"https://www.facebook.com/events/1627719017521960/\" target=\"_blank\" rel=\"noopener\">\u003cem>Attention! We’ve Moved\u003c/em>\u003c/a> on Thursday evening, Jan. 12. It’s the work of Oakland nautical artist \u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>, whose practice points to possibility on bodies of water, and Dena Beard, the Mission District arts space director who sees the project partly as a puckish response to the City of San Francisco’s effective banishment of noise performances at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>.\u003c/p>\n\u003cp>“With the programming, I wanted to highlight noise, that aggressive cacophony and dissonance,” Beard tells me. “Specifically I wanted to highlight how gentrification affected The Lab in the sense that the city imposed a noise cap on us — basically making it illegal to do an entire genre of music we were known for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Dynasty Handbag, the evening’s delightfully crabby emcee in pancake makeup, “Noise probably means garbage music by failed musicians.”\u003c/p>\n\u003cp>It’s VIP preview night ($160), meaning at least one venture capitalist is fingering free grapes on the yacht’s lower deck with some fellow white-shirts — hipped to the voyage, no doubt, by its association with the inaugural San Francisco edition of UNTITLED art fair at Pier 70 the same weekend. Tickets to the next four cruises, twice each on Friday and Saturday night, cost $35 each. And they’re selling out.\u003c/p>\n\u003cfigure id=\"attachment_12636274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg\" alt=\"Dynasty Handbag\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-520x416.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dynasty Handbag. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I thought we shouldn’t be part of an art fair. We have nothing to sell,” Beard says, noting The Lab’s commitment to interrogating the conventions of arts funding. “But then I started thinking about Pier 70’s history of radical underground activity, and I thought, ‘Okay, I’ll participate if I can recreate the sort of events that are getting threatened or displaced in the Bay Area.’”\u003c/p>\n\u003cp>“I used to live here,” reflects Dynasty Handbag. “I hated it.”\u003c/p>\n\u003cp>Hockaday — whose earlier projects include a floating peepshow, inspired by the 2014 closures of worker-owned strip club the Lusty Lady and Latino gay bar Esta Noche — prefers not to drastically transform the boats she commissions in her work. The Empress’ most prominent embellishment is an arched white neon-sign on the lower deck. It reads, “Everybody’s.”\u003c/p>\n\u003cp>That refers to how the water and shores technically belong to the public, she tells me, although they’re managed and overseen by a trustee, the Port of San Francisco. “Like the water, the land moves, only slower — and yet we divide it up and stake claims to it,” she says. “Whereas the tidelands are subject to the public-trust doctrine.”\u003c/p>\n\u003cp>After MSHR, the New York duo with the wands, comes Las Sucias. The local group, composed of Alexandra Buschman and Danishta Rivero, meddles with an altar of trinkets and electronics, spitting volleys of vernacular Spanish atop reggaetón-inspired beats. “It’s more rhythmic [than MSHR],” observes Captain Augustino. “But it’s not copy-and-paste.”\u003c/p>\n\u003cp>And then there’s Voicehandler, an improvisational duo composed of Rivero and percussionist Jacob Felix Heule. Rather than her trenchant delivery with Las Sucias, Rivero marshals an incantatory, subtly modulated melisma up from the core of her body, while Heule keeps a kinetic patter on his personalized trap kit. Following the set is longtime Bay Area experimentalist Kevin Blechdom, with a cracked song-and-dance act.\u003c/p>\n\u003cfigure id=\"attachment_12636275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg\" alt='The \"noise table\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “noise table” used by MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Captain Augustino isn’t listening too closely. He has an audience up in the wheelhouse, and he’s talking about his late father, a master square-rigger (think pirate ships) — in fact, “one of only three master square-riggers in the world,” he says. “Now there are two.”\u003c/p>\n\u003cp>Beard didn’t grow up sailing historic vessels like Captain Augustino, but her family lived together on a boat for a while. “You put people in a boat on a body of water and a sense of camaraderie and risk happens,” she says.\u003c/p>\n\u003cp>“It’s a non-normative space, so it shifts, very basically, the ways we perceive performance art. And I do think that when every inch of our immediate vicinity becomes uninhabitable or over-regulated, we should look to the water as another option.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A temporary installation that looks a lot like a boat party aims to 'highlight the ongoing displacement of artists and cultural spaces' — by giving them room on the water in the San Francisco Bay.",
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"title": "Nautical Noise: Yachting Against Cultural Displacement? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The upper deck of 90-foot party yacht the Empress of Sausalito looks and sounds like a misfiring spaceship engine.\u003c/p>\n\u003cp>Hovering over a thicket of wires on folding tables, two longhairs in shades conjure skittish blips with luminous, homemade sound wands. And as strobe lights begin to flare in and out of phase with a gut-grabbing barrage of low-end kick, Angel Island passes by the starboard window. Thirty-some passengers suspect the surf just got choppier.\u003c/p>\n\u003cp>“I’m in a delicate space up here,” says Captain Augustino, a San Francisco Bay lifer idly steering with one foot in the dark wheelhouse. “So it’s nice to hear these random tones rather than copy-and-paste rap, or rock, which I think is really dead. … There are these abstract correlations with how I’m feeling, like, what I feel and what I think are clashing. This music is like that.”\u003c/p>\n\u003cfigure id=\"attachment_12636273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg\" alt=\"MSHR\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/MSHR-Credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re attending, or unwittingly participating in, an installation-cum-social experiment dubbed \u003ca href=\"https://www.facebook.com/events/1627719017521960/\" target=\"_blank\" rel=\"noopener\">\u003cem>Attention! We’ve Moved\u003c/em>\u003c/a> on Thursday evening, Jan. 12. It’s the work of Oakland nautical artist \u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>, whose practice points to possibility on bodies of water, and Dena Beard, the Mission District arts space director who sees the project partly as a puckish response to the City of San Francisco’s effective banishment of noise performances at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>.\u003c/p>\n\u003cp>“With the programming, I wanted to highlight noise, that aggressive cacophony and dissonance,” Beard tells me. “Specifically I wanted to highlight how gentrification affected The Lab in the sense that the city imposed a noise cap on us — basically making it illegal to do an entire genre of music we were known for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Dynasty Handbag, the evening’s delightfully crabby emcee in pancake makeup, “Noise probably means garbage music by failed musicians.”\u003c/p>\n\u003cp>It’s VIP preview night ($160), meaning at least one venture capitalist is fingering free grapes on the yacht’s lower deck with some fellow white-shirts — hipped to the voyage, no doubt, by its association with the inaugural San Francisco edition of UNTITLED art fair at Pier 70 the same weekend. Tickets to the next four cruises, twice each on Friday and Saturday night, cost $35 each. And they’re selling out.\u003c/p>\n\u003cfigure id=\"attachment_12636274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg\" alt=\"Dynasty Handbag\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick-520x416.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Dynasty-Handbag-credit-RobertDiversHerick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dynasty Handbag. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I thought we shouldn’t be part of an art fair. We have nothing to sell,” Beard says, noting The Lab’s commitment to interrogating the conventions of arts funding. “But then I started thinking about Pier 70’s history of radical underground activity, and I thought, ‘Okay, I’ll participate if I can recreate the sort of events that are getting threatened or displaced in the Bay Area.’”\u003c/p>\n\u003cp>“I used to live here,” reflects Dynasty Handbag. “I hated it.”\u003c/p>\n\u003cp>Hockaday — whose earlier projects include a floating peepshow, inspired by the 2014 closures of worker-owned strip club the Lusty Lady and Latino gay bar Esta Noche — prefers not to drastically transform the boats she commissions in her work. The Empress’ most prominent embellishment is an arched white neon-sign on the lower deck. It reads, “Everybody’s.”\u003c/p>\n\u003cp>That refers to how the water and shores technically belong to the public, she tells me, although they’re managed and overseen by a trustee, the Port of San Francisco. “Like the water, the land moves, only slower — and yet we divide it up and stake claims to it,” she says. “Whereas the tidelands are subject to the public-trust doctrine.”\u003c/p>\n\u003cp>After MSHR, the New York duo with the wands, comes Las Sucias. The local group, composed of Alexandra Buschman and Danishta Rivero, meddles with an altar of trinkets and electronics, spitting volleys of vernacular Spanish atop reggaetón-inspired beats. “It’s more rhythmic [than MSHR],” observes Captain Augustino. “But it’s not copy-and-paste.”\u003c/p>\n\u003cp>And then there’s Voicehandler, an improvisational duo composed of Rivero and percussionist Jacob Felix Heule. Rather than her trenchant delivery with Las Sucias, Rivero marshals an incantatory, subtly modulated melisma up from the core of her body, while Heule keeps a kinetic patter on his personalized trap kit. Following the set is longtime Bay Area experimentalist Kevin Blechdom, with a cracked song-and-dance act.\u003c/p>\n\u003cfigure id=\"attachment_12636275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12636275\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg\" alt='The \"noise table\"' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Noise-table-credit-RobertDiversHerick.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The “noise table” used by MSHR. \u003ccite>(Robert Divers Herick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Captain Augustino isn’t listening too closely. He has an audience up in the wheelhouse, and he’s talking about his late father, a master square-rigger (think pirate ships) — in fact, “one of only three master square-riggers in the world,” he says. “Now there are two.”\u003c/p>\n\u003cp>Beard didn’t grow up sailing historic vessels like Captain Augustino, but her family lived together on a boat for a while. “You put people in a boat on a body of water and a sense of camaraderie and risk happens,” she says.\u003c/p>\n\u003cp>“It’s a non-normative space, so it shifts, very basically, the ways we perceive performance art. And I do think that when every inch of our immediate vicinity becomes uninhabitable or over-regulated, we should look to the water as another option.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know what’s a bummer sometimes? Being earth-bound. Sure, this planet has burritos, Joe Biden memes, and \u003ca href=\"https://www.youtube.com/watch?v=mWD_VPiMlso\" target=\"_blank\" rel=\"noopener\">this Golden Girls gospel remix\u003c/a>, but every now and then — and yeah, maybe a little more often these days — we all have the urge to blast in space, let the earth become a tiny blue dot, and concern ourselves with greater questions, like how much great psychedelic rock the Bay Area has to produce before people will stop saying the scene is dead.\u003c/p>\n\u003cp>Well, Once and Future Band, an Oakland four-piece made up of Bay Area music scene vets, are here to help. Their self-titled LP, out Jan. 27 on Castle Face (that’s John Dwyer’s label, if you needed the official Thee Oh Sees stamp of approval), promises a layered prog-rock journey of intergalactic proportions. With clear nods to Pink Floyd and Steely Dan, plus a sprinkle of Queen-esque drama, everything I’ve heard off this record so far seems designed to take you to a different planet entirely.\u003c/p>\n\u003cp>“Tell Me Those Are Tears of Joy” — a deceptively sanguine song about the danger inherent in telling a friend about long-harbored Feelings — is no exception. It’s not without humor: There’s a self-awareness, something almost tongue-in-cheek about how fully they’ve leaned into their ’70s influences, but singer Joel Robinow & Co. are all too technically skilled to make the music turn out goofy.\u003c/p>\n\u003cp>At the very least, it’s a decidedly welcome break from the much darker goofiness that is our current national reality. The Once and Future Band will play what should be a \u003ca href=\"http://www.thechapelsf.com/event/1383992-record-release-show-once-san-francisco/\" target=\"_blank\" rel=\"noopener\">wonderfully spacey record release party on Jan. 26 at The Chapel\u003c/a>, with Kelley Stoltz opening. Until then: strap on your helmet and give “Tell Me Those Are Tears of Joy” a spin around the astral plane.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/286624437″ 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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>I post new(ish) tracks by local artists on Fridays now. Got something to send me? \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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what’s a bummer sometimes? Being earth-bound. Sure, this planet has burritos, Joe Biden memes, and \u003ca href=\"https://www.youtube.com/watch?v=mWD_VPiMlso\" target=\"_blank\" rel=\"noopener\">this Golden Girls gospel remix\u003c/a>, but every now and then — and yeah, maybe a little more often these days — we all have the urge to blast in space, let the earth become a tiny blue dot, and concern ourselves with greater questions, like how much great psychedelic rock the Bay Area has to produce before people will stop saying the scene is dead.\u003c/p>\n\u003cp>Well, Once and Future Band, an Oakland four-piece made up of Bay Area music scene vets, are here to help. Their self-titled LP, out Jan. 27 on Castle Face (that’s John Dwyer’s label, if you needed the official Thee Oh Sees stamp of approval), promises a layered prog-rock journey of intergalactic proportions. With clear nods to Pink Floyd and Steely Dan, plus a sprinkle of Queen-esque drama, everything I’ve heard off this record so far seems designed to take you to a different planet entirely.\u003c/p>\n\u003cp>“Tell Me Those Are Tears of Joy” — a deceptively sanguine song about the danger inherent in telling a friend about long-harbored Feelings — is no exception. It’s not without humor: There’s a self-awareness, something almost tongue-in-cheek about how fully they’ve leaned into their ’70s influences, but singer Joel Robinow & Co. are all too technically skilled to make the music turn out goofy.\u003c/p>\n\u003cp>At the very least, it’s a decidedly welcome break from the much darker goofiness that is our current national reality. The Once and Future Band will play what should be a \u003ca href=\"http://www.thechapelsf.com/event/1383992-record-release-show-once-san-francisco/\" target=\"_blank\" rel=\"noopener\">wonderfully spacey record release party on Jan. 26 at The Chapel\u003c/a>, with Kelley Stoltz opening. Until then: strap on your helmet and give “Tell Me Those Are Tears of Joy” a spin around the astral plane.\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/286624437″&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/286624437″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Friday, Jan. 13 at 11am\u003c/em>\u003c/p>\n\u003cp>Two members of the veteran Oakland R&B-funk band Tower of Power were in critical condition Thursday night after being struck by an Amtrak train near Jack London Square shortly before 8pm, according to several sources including a band spokesperson. They were scheduled to perform two sets at Yoshi’s, the jazz club that borders the transit hub, and a venue where the band plays regularly.\u003c/p>\n\u003cp>“In an unfortunate accident tonight, two members of the award-winning group Tower Of Power, drummer David Garibaldi and current bassist Marc Van Wageningen, were struck by a train in California,” said their publicist, Jeremy Westby, in a statement. “Both men are responsive and being treated at a local hospital in Oakland.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/bayarea/article/2-pedestrians-hit-by-train-in-Oakland-near-estuary-10854827.php\" target=\"_blank\" rel=\"noopener\">According to the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, the accident occurred when Garibaldi, Van Wageningen, and two other pedestrians tried to cross the train tracks while the guard arms were down, possibly because they thought the warning was for a slow freight train that had just passed. An Amtrak train was coming at about 25 mph from the other direction on a different track, Oakland Police Sgt. Aaron Smith told the \u003cem>Chronicle\u003c/em>. The other two people were apparently able to jump out of the way before the two musicians were struck.\u003c/p>\n\u003cp>Sheila E., the legendary drummer and frequent Tower of Power collaborator, sent out a call for well wishes on Twitter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://twitter.com/sheilaedrummer/status/819772464326582272\u003c/p>\n\u003cp>Tower of Power helped put the Bay Area on the soul-funk map in the ’70s, rising to international fame alongside fellow Oakland natives Sly and the Family Stone. Though the band also experienced its greatest commercial success in that decade, Tower of Power has continued touring extensively up through the present with a rotating cast of members. After several shows at Yoshi’s, their next scheduled show on this tour was Jan. 20 at a Harrah’s casino in Laughlin, Nevada.\u003c/p>\n\u003cp>Garibaldi originally joined Tower of Power on drums in 1970, sometimes taking breaks from the band, but generally considered a lifetime member. Van Wageningen had recently stepped in to relieve founding bassist Francis “Rocco” Prestia, who has \u003ca href=\"http://towerofpower.com/rocco_bio/index.html\" target=\"_blank\" rel=\"noopener\">battled health issues\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Founding member Emilio Castillo released a statement characterizing the band members as being in “serious condition,” but expected to recover. From the bandleader’s \u003ca href=\"https://www.facebook.com/OfficialTowerOfPowerBand/posts/1146673992112066\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I was at the hospital last night and saw David but Marc was in intensive care and I wasn’t able to see him. Dave’s head and face were pretty swollen and bruised but he was lucid and expected to recover. Marc came through surgery well; his internal bleeding was stopped and they were waiting for him to stabilize in order to do further testing. The doctors were cautiously optimistic. We appreciate the responses and prayers from our former bandmates, friends, and fans and we all remain hopeful and in prayer.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong> \u003cem>Friday, Jan. 13 at 11am\u003c/em>\u003c/p>\n\u003cp>Two members of the veteran Oakland R&B-funk band Tower of Power were in critical condition Thursday night after being struck by an Amtrak train near Jack London Square shortly before 8pm, according to several sources including a band spokesperson. They were scheduled to perform two sets at Yoshi’s, the jazz club that borders the transit hub, and a venue where the band plays regularly.\u003c/p>\n\u003cp>“In an unfortunate accident tonight, two members of the award-winning group Tower Of Power, drummer David Garibaldi and current bassist Marc Van Wageningen, were struck by a train in California,” said their publicist, Jeremy Westby, in a statement. “Both men are responsive and being treated at a local hospital in Oakland.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/bayarea/article/2-pedestrians-hit-by-train-in-Oakland-near-estuary-10854827.php\" target=\"_blank\" rel=\"noopener\">According to the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, the accident occurred when Garibaldi, Van Wageningen, and two other pedestrians tried to cross the train tracks while the guard arms were down, possibly because they thought the warning was for a slow freight train that had just passed. An Amtrak train was coming at about 25 mph from the other direction on a different track, Oakland Police Sgt. Aaron Smith told the \u003cem>Chronicle\u003c/em>. The other two people were apparently able to jump out of the way before the two musicians were struck.\u003c/p>\n\u003cp>Sheila E., the legendary drummer and frequent Tower of Power collaborator, sent out a call for well wishes on Twitter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Tower of Power helped put the Bay Area on the soul-funk map in the ’70s, rising to international fame alongside fellow Oakland natives Sly and the Family Stone. Though the band also experienced its greatest commercial success in that decade, Tower of Power has continued touring extensively up through the present with a rotating cast of members. After several shows at Yoshi’s, their next scheduled show on this tour was Jan. 20 at a Harrah’s casino in Laughlin, Nevada.\u003c/p>\n\u003cp>Garibaldi originally joined Tower of Power on drums in 1970, sometimes taking breaks from the band, but generally considered a lifetime member. Van Wageningen had recently stepped in to relieve founding bassist Francis “Rocco” Prestia, who has \u003ca href=\"http://towerofpower.com/rocco_bio/index.html\" target=\"_blank\" rel=\"noopener\">battled health issues\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Founding member Emilio Castillo released a statement characterizing the band members as being in “serious condition,” but expected to recover. From the bandleader’s \u003ca href=\"https://www.facebook.com/OfficialTowerOfPowerBand/posts/1146673992112066\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I was at the hospital last night and saw David but Marc was in intensive care and I wasn’t able to see him. Dave’s head and face were pretty swollen and bruised but he was lucid and expected to recover. Marc came through surgery well; his internal bleeding was stopped and they were waiting for him to stabilize in order to do further testing. The doctors were cautiously optimistic. We appreciate the responses and prayers from our former bandmates, friends, and fans and we all remain hopeful and in prayer.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Are you in a band? Do you wake up every morning determined to make it big against all odds? Have you always wanted to play live music immediately preceding a Bon Jovi performance at a stadium in either Sacramento or San Jose?\u003c/p>\n\u003cp>That last one would be a very specific life goal, but if it’s yours, are you ever in luck! According to his website, Jon Bon Jovi is looking to help up-and-coming bands live out their dreams on his upcoming “This House Is Not For Sale” tour, with a contest in which the prize is, yes, opening for Jon Bon Jovi.\u003c/p>\n\u003cp style=\"text-align: left\">On the site, aspiring rockers \u003ca href=\"http://www.bonjovi.com/2017-opening-act-contest/\" target=\"_blank\" rel=\"noopener\">are invited to submit an audition video\u003c/a> of themselves performing original music; a different winner from a different geographic region will be chosen for each of Bon Jovi’s 2017 tour dates. The contest, which is sponsored by Live Nation, does not specify whether or not John Francis Bongiovi Jr. himself will personally sort through the submissions to select said winner, but do note that videos will be judged on “ability to entertain and captivate viewer/audience through showmanship, stage presence and/or fan interaction, originality, and creativity.”\u003c/p>\n\u003cp style=\"text-align: left\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12613628\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-800x800.jpg\" alt=\"bonjovi_sweepstakes_alt_1080x1080_static-1024x1024\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: left\">A closer reading of the contest’s official rules does reveal that bands must have five or fewer members, and winners will be allotted no more than 20 minutes for their big break of an opening performance. Also, here is a list of things your music and five minute-or-less audition video should absolutely not include, if you are going to be “opening for Bon Jovi” material.\u003c/p>\n\u003cul>\n\u003cli style=\"text-align: left\">Obscenity\u003c/li>\n\u003cli style=\"text-align: left\">Crude, vulgar or offensive pictures, depictions, images, language and/or symbols\u003c/li>\n\u003cli style=\"text-align: left\">Gang signs or symbols\u003c/li>\n\u003cli style=\"text-align: left\">Violence\u003c/li>\n\u003cli style=\"text-align: left\">Explicit sexual activity\u003c/li>\n\u003cli style=\"text-align: left\">Nudity\u003c/li>\n\u003cli style=\"text-align: left\">Illegal drug or alcohol use\u003c/li>\n\u003cli style=\"text-align: left\">Commercial products (e.g., clothing, toys food) and/or their trademarks, brands, logos or endorsements\u003c/li>\n\u003cli style=\"text-align: left\">License plates, phone numbers, personal addresses (physical or email or otherwise)\u003c/li>\n\u003cli style=\"text-align: left\">Website or web page links\u003c/li>\n\u003cli style=\"text-align: left\">Derogatory characterizations of any ethnic, racial, sexual or religious groups, humiliation of other people (publicly or otherwise), any assault or threatening of others\u003c/li>\n\u003cli style=\"text-align: left\">Trespass or the violation of other people’s rights or property\u003c/li>\n\u003cli style=\"text-align: left\">Illegal (e.g., discriminatory, harassing) or inappropriate activity, behavior or conduct (e.g., inflicting emotional distress)\u003c/li>\n\u003cli style=\"text-align: left\">Conduct or activities in violation of these Official Rules\u003c/li>\n\u003cli style=\"text-align: left\">Any other content, display, materials and/or images that is or could be considered inappropriate, unsuitable or offensive, as determined by Promotion Entities, in their sole discretion\u003c/li>\n\u003c/ul>\n\u003cp style=\"text-align: left\">ROCK AND/OR ROLL, amirite?!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: left\">Bay Area: your chances at a golden ticket include, fittingly, a show at the Golden 1 Center in Sacramento on Feb. 28, and one at the SAP Center in San Jose on March 1. This gives you a few weeks to get in shape. Go on. Grab one to four of your friends, some instruments, and a video camera, then start figuring out what \u003ca href=\"https://www.youtube.com/watch?v=BHGJEdjCoeU\" target=\"_blank\" rel=\"noopener\">snacks you want in the green room\u003c/a>.\u003c/p>\n\u003cp style=\"text-align: left\">Sure, your chances may be slim, but who’s to say you won’t hit the jackpot? It’s your life — and, as some might say, it’s now or never.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vx2u5uUu3DE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you in a band? Do you wake up every morning determined to make it big against all odds? Have you always wanted to play live music immediately preceding a Bon Jovi performance at a stadium in either Sacramento or San Jose?\u003c/p>\n\u003cp>That last one would be a very specific life goal, but if it’s yours, are you ever in luck! According to his website, Jon Bon Jovi is looking to help up-and-coming bands live out their dreams on his upcoming “This House Is Not For Sale” tour, with a contest in which the prize is, yes, opening for Jon Bon Jovi.\u003c/p>\n\u003cp style=\"text-align: left\">On the site, aspiring rockers \u003ca href=\"http://www.bonjovi.com/2017-opening-act-contest/\" target=\"_blank\" rel=\"noopener\">are invited to submit an audition video\u003c/a> of themselves performing original music; a different winner from a different geographic region will be chosen for each of Bon Jovi’s 2017 tour dates. The contest, which is sponsored by Live Nation, does not specify whether or not John Francis Bongiovi Jr. himself will personally sort through the submissions to select said winner, but do note that videos will be judged on “ability to entertain and captivate viewer/audience through showmanship, stage presence and/or fan interaction, originality, and creativity.”\u003c/p>\n\u003cp style=\"text-align: left\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12613628\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-800x800.jpg\" alt=\"bonjovi_sweepstakes_alt_1080x1080_static-1024x1024\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BonJovi_Sweepstakes_ALT_1080x1080_Static-1024x1024.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: left\">A closer reading of the contest’s official rules does reveal that bands must have five or fewer members, and winners will be allotted no more than 20 minutes for their big break of an opening performance. Also, here is a list of things your music and five minute-or-less audition video should absolutely not include, if you are going to be “opening for Bon Jovi” material.\u003c/p>\n\u003cul>\n\u003cli style=\"text-align: left\">Obscenity\u003c/li>\n\u003cli style=\"text-align: left\">Crude, vulgar or offensive pictures, depictions, images, language and/or symbols\u003c/li>\n\u003cli style=\"text-align: left\">Gang signs or symbols\u003c/li>\n\u003cli style=\"text-align: left\">Violence\u003c/li>\n\u003cli style=\"text-align: left\">Explicit sexual activity\u003c/li>\n\u003cli style=\"text-align: left\">Nudity\u003c/li>\n\u003cli style=\"text-align: left\">Illegal drug or alcohol use\u003c/li>\n\u003cli style=\"text-align: left\">Commercial products (e.g., clothing, toys food) and/or their trademarks, brands, logos or endorsements\u003c/li>\n\u003cli style=\"text-align: left\">License plates, phone numbers, personal addresses (physical or email or otherwise)\u003c/li>\n\u003cli style=\"text-align: left\">Website or web page links\u003c/li>\n\u003cli style=\"text-align: left\">Derogatory characterizations of any ethnic, racial, sexual or religious groups, humiliation of other people (publicly or otherwise), any assault or threatening of others\u003c/li>\n\u003cli style=\"text-align: left\">Trespass or the violation of other people’s rights or property\u003c/li>\n\u003cli style=\"text-align: left\">Illegal (e.g., discriminatory, harassing) or inappropriate activity, behavior or conduct (e.g., inflicting emotional distress)\u003c/li>\n\u003cli style=\"text-align: left\">Conduct or activities in violation of these Official Rules\u003c/li>\n\u003cli style=\"text-align: left\">Any other content, display, materials and/or images that is or could be considered inappropriate, unsuitable or offensive, as determined by Promotion Entities, in their sole discretion\u003c/li>\n\u003c/ul>\n\u003cp style=\"text-align: left\">ROCK AND/OR ROLL, amirite?!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Is There Anything Jean Grae Can’t Do? | KQED",
"content": "\u003cp>Conventional job-hunting wisdom generally says your resume should fit on one page — relevant experience only, please. This makes it easier for prospective employers to figure out what you’ve done, and what you’re likely to do best.\u003c/p>\n\u003cp>Good thing \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a> doesn’t seem to have any trouble finding jobs.\u003c/p>\n\u003cp>At 40, the woman Talib Kweli once called “one of the last true MCs left” is still best known in the underground hip-hop world, thanks to her 20 years of rapping, writing and producing. But around five years ago, the Cape Town-born, New York-raised artist took her dark, dry wit, penchant for wordplay, and love for live performance — and decided to leave the music behind.\u003c/p>\n\u003cp>The result? A really packed calendar. Grae currently hosts a live talk show, \u003cem>The Show Show With Jean Grae\u003c/em>, where she riffs with guests like Janeane Garofalo; appears regularly on shows like \u003cem>Night Train with Wyatt Cenac\u003c/em>; and serves as a non-denominational minister at a community gathering she founded called The Church of the Infinite You. She’s written a sitcom about her life, a \u003ca href=\"http://jezebel.com/tag/cooking-with-jean-grae\" target=\"_blank\" rel=\"noopener\">cooking column for Jezebel\u003c/a>, and published books of both the e- and audio variety.\u003c/p>\n\u003cp>Currently, she’s working on a pilot for a TV show she can’t quite talk about yet, planning for \u003ca href=\"https://jococruise.com/\" target=\"_blank\" rel=\"noopener\">an upcoming comedy cruise\u003c/a>, and in her free time has taken to penning disturbingly funny erotic fan fiction: “\u003ca href=\"http://jeangreasy.wixsite.com/pagesofglory\" target=\"_blank\" rel=\"noopener\">Timtations\u003c/a>,” about Vice Presidential candidate Tim Kaine, is the work that most recently made me laugh, nearly cry, then immediately want to talk to her. Suffice it to say the comedy world has — smartly — welcomed Jean Grae with open arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grae appears Friday, Jan. 13 at the Brava Theatre, as part of \u003ca href=\"https://sfsketchfest2017.sched.com/event/1376e53bcc9fb356ae9178b841ea3592\" target=\"_blank\" rel=\"noopener\">an improv show by the WorkJuice Players\u003c/a> (with comedians Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Annie Savage, Paul F. Tompkins and Janet Varney); they’ll perform an improvised show based on Grae’s monologues. I caught up with her by phone over the previous weekend, when she was holed up in her Brooklyn apartment during a snowstorm.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: You grew up in a musical family, studied music when you were young, and have been making music all your life. Was comedy always in your back pocket as a career change? Was there something in particular that made you branch out?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jean Grae:\u003c/strong> I’m one of those people who believe we have a very short time in this physical world, so if you can go do a bunch of things, then you should. I did rap for like 25 years. That’s a long time — and even falling into that was kind of an accidental career, I knew that’s not necessarily what I wanted to be, or all I wanted to be. But it was, ‘I can do this, I like writing, and audiences, and music, and I’m really f-cking good at it. Oh, and also, you guys are giving me money.’ (Laughs.) At some point, I made a decision that when I got to 33 or 34, you know, ‘You have to go do this. This is your other life. Do it.’\u003c/p>\n\u003cp>I think about Jack Beers — do you know him? He was a strongman in New York, but then he went on to become an engineer, he built Radio City Music Hall, he was an actor, he had like eight or nine different lives. I think especially for women and especially for women of color, we’re not really encouraged as much to do that, to go be a f-ckin’ polymath if you’re multi-talented. And I’ve always admired people who incorporated all different kinds of performance in their careers — Gilda Radner, Josephine Baker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-XCxKXbmW40\u003c/p>\n\u003cp>\u003cstrong>Sounds like the music world started to feel limiting for you.\u003c/strong>\u003c/p>\n\u003cp>Rap in general was always really confining and frustrating, and especially being put in a “female rapper” category, I never got to discuss all the other things I did. I engineered records, I produced them, but we’re never gonna talk about that. Also, in a really simple way, just having to rhyme stuff gets really boring. (Laughs.) People don’t talk like that! If you hung out with Dr. Seuss and he talked like that all the time, you’d be like “f-ck this dude.” So I get to have normal conversations now, and there is great freedom in [comedy] and in this new career path. People ask to me to do a show, and I say “What do you want me to do?” And they just say, “We just want you.”\u003c/p>\n\u003cp>\u003cstrong>Tell me about being a minister for the \u003ca href=\"http://www.unionhallny.com/event/1339987-church-infinite-you-minister-brooklyn/\" target=\"_blank\" rel=\"noopener\">Church of the Infinite You\u003c/a> — which is not exactly a traditional church. For one, it’s held at the Brooklyn music venue Union Hall.\u003c/strong>\u003c/p>\n\u003cp>Well, it’s definitely not a Christian church. It came out of me just talking to people — asking, ‘What do you really want to do?’ And then following up: ‘OK, why are you not doing that?’ Kind of Tyler Durden-ing, if you will, without the life-threatening gun in an alley situation, which I would also be down with, to be clear, but it’s kind of frowned upon. The Church is about having a place to talk about all the sh-t you want to do in your life, and saying ‘Yeah, you gotta go do that sh-t.’ Talking about how to be our 100-percent best.\u003c/p>\n\u003cp>As a general thing, once you get a bunch of people in a room, that collective energy — that’s what church is anyway — the more you create energy, the more you can actualize and realize things. It was important to not do it in a place that was sterile, either. It was ‘We need to be in a place where we can drink and curse, and you don’t have to feel weird — you can just be you here.’\u003c/p>\n\u003cp>It’s great. It can also be really overwhelming. During this last one I ended with a guided meditation to Radiohead, and I was like, ‘I don’t know if this is gonna work,’ but it did.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=79205023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=195542665/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>That kind of space seems like something a lot of people are going to need these next few years, considering… well, I don’t know if you want to talk politics.\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. Sure.\u003c/p>\n\u003cp>\u003cstrong>How did you spend election night?\u003c/strong>\u003c/p>\n\u003cp>Well, I didn’t have any alcohol in the house. And it got to be about 9pm, and I was like, ‘Oh no, oh I see, I’m gonna need some alcohol.’ So I immediately, in my best adult reaction, got some alcohol. And my boyfriend and I were actually in the middle of a breakup — he was in New Orleans and I was here, and we were on the phone the whole time. I think we both spent a lot of the first few hours being like, ‘Hold on, I have to go throw up.’ And then discussing, once we knew the outcome, it was like: life is short, and if this is gonna be how it is, we need to work our relationship out. Get our priorities straight. So that turned out to be great in a weird way. But it was a long f-cking night.\u003c/p>\n\u003cp>Look, although I am a U.S. citizen, I am an immigrant, I am a brown and black woman, I have a Muslim name [Grae’s real name is Tsidi Ibrahim]. My first reaction was like, “So, we should go, right?” I was up until four in the morning looking at other countries to move to. But you also realize as you’re making that decision — I’ve traveled to a lot of places — and some things might be better, but race relations aren’t exactly awesome right now in other parts of the world either.\u003c/p>\n\u003cp>I was also just not as surprised [by the outcome] as a lot of people. So there was the crying and the vomiting, but honestly it also didn’t feel foreign. I feel like we spent a lot of time doing that in the last year, in reaction to police shootings, just having to feel what it feels like to be black in America. And [the election] was a cap on all of that — kind of the resounding answer of “F-ck y’all.” It was just not that unexpected.\u003c/p>\n\u003cp>\u003cstrong>Do you feel creatively driven by that kind of pain? Obviously there’s this huge tradition of hip-hop as protest music… but I could also understand just wanting to curl up in the fetal position. \u003c/strong>\u003c/p>\n\u003cp>One thing is that it’s just difficult — it was difficult all of last year — trying to release projects, music, and it’s a sh-tty thing when you have a release you wanna put out but first you wake up and go, ‘Okay, who’s dead? What’s the hashtag?’ Do I have to feel insensitive putting something out now, or am I even gonna feel like doing it at all? I was doing a book, and I didn’t want to promote it, but you have to, because you need to eat; I can’t just stop working.\u003c/p>\n\u003cp>But again, it’s not a new feeling. I don’t feel like every artist has a responsibility to address it — everybody needs different outlets anyway. You have to go and laugh, you have to go dance. I was like, ‘Well, Church is going to be interesting.’ Also we have to understand better, obviously there are important artists who have come out of protest movements, but when people have been like, “I can’t wait for the great art that comes out of this”? Please shut the f-ck up. \u003ca href=\"https://www.theguardian.com/music/australia-news-blog/2016/dec/29/amanda-palmer-donald-trump-is-going-to-make-punk-rock-great-again\" target=\"_blank\" rel=\"noopener\">Amanda Palmer, shut the f-ck up\u003c/a>. “Oh, it’s gonna be so punk.” That’s like saying “Yeah, slavery, man — but how about that \u003cem>gospel \u003c/em>music though?” I don’t think you have to be experiencing great pain to create art.\u003c/p>\n\u003cp>\u003cstrong>Amen to that. Here’s a music vs. comedy question: Assuming it exists in both, how does the industry bullsh-t compare? Or the boys’ club aspect?\u003c/strong>\u003c/p>\n\u003cp>Nothing tops music industry bullsh-t, except for politics. Well, maybe sports. Never gonna find that out. I will say one thing, which is that in comedy, there are just so many more women. They’re everywhere! I’m really thankful that I’m here at a time when that’s the case.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nNpKyHMdcT0\u003c/p>\n\u003cp>But also, I’ve come to realize, you could put me in any room and I’ll be fine, because I generally don’t exist. The blueprint for what I want, who I am, what I want my career to look like, that’s not a thing until I make it a thing. That’s why I find the title polymath so freeing. That’s what I want people to come away [from my shows] with, is we can all do those things. Well, not exactly what I’m doing, maybe; calm down. But everyone can be everything. We talk about being renaissance men and women, and if we really want to be that, it means if you’re curious about something, you have to just go do it. We don’t know how much time we have.\u003c/p>\n\u003cp>And also, we have the internet. Go learn something! Today I learned how to make pretzels, and they smell f-cking amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jean Grae appears this Friday, Jan. 13 at WorkJuice Improv at the Brava Theatre in San Francisco. \u003ca href=\"https://sfsketchfest2017.sched.com/event/8wLm/workjuice-improv-with-craig-cackowski-mark-gagliardi-marc-evan-jackson-hal-lublin-annie-savage-paul-f-tompkins-janet-varney-and-guest-monologist-jean-grae?iframe=no&w=100%&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Tickets ($30) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The writer, actress and rapper -- called \"one of the last true MCs\" by Talib Kweli -- on post-election vomiting and why she left hip-hop for comedy. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conventional job-hunting wisdom generally says your resume should fit on one page — relevant experience only, please. This makes it easier for prospective employers to figure out what you’ve done, and what you’re likely to do best.\u003c/p>\n\u003cp>Good thing \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a> doesn’t seem to have any trouble finding jobs.\u003c/p>\n\u003cp>At 40, the woman Talib Kweli once called “one of the last true MCs left” is still best known in the underground hip-hop world, thanks to her 20 years of rapping, writing and producing. But around five years ago, the Cape Town-born, New York-raised artist took her dark, dry wit, penchant for wordplay, and love for live performance — and decided to leave the music behind.\u003c/p>\n\u003cp>The result? A really packed calendar. Grae currently hosts a live talk show, \u003cem>The Show Show With Jean Grae\u003c/em>, where she riffs with guests like Janeane Garofalo; appears regularly on shows like \u003cem>Night Train with Wyatt Cenac\u003c/em>; and serves as a non-denominational minister at a community gathering she founded called The Church of the Infinite You. She’s written a sitcom about her life, a \u003ca href=\"http://jezebel.com/tag/cooking-with-jean-grae\" target=\"_blank\" rel=\"noopener\">cooking column for Jezebel\u003c/a>, and published books of both the e- and audio variety.\u003c/p>\n\u003cp>Currently, she’s working on a pilot for a TV show she can’t quite talk about yet, planning for \u003ca href=\"https://jococruise.com/\" target=\"_blank\" rel=\"noopener\">an upcoming comedy cruise\u003c/a>, and in her free time has taken to penning disturbingly funny erotic fan fiction: “\u003ca href=\"http://jeangreasy.wixsite.com/pagesofglory\" target=\"_blank\" rel=\"noopener\">Timtations\u003c/a>,” about Vice Presidential candidate Tim Kaine, is the work that most recently made me laugh, nearly cry, then immediately want to talk to her. Suffice it to say the comedy world has — smartly — welcomed Jean Grae with open arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grae appears Friday, Jan. 13 at the Brava Theatre, as part of \u003ca href=\"https://sfsketchfest2017.sched.com/event/1376e53bcc9fb356ae9178b841ea3592\" target=\"_blank\" rel=\"noopener\">an improv show by the WorkJuice Players\u003c/a> (with comedians Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Annie Savage, Paul F. Tompkins and Janet Varney); they’ll perform an improvised show based on Grae’s monologues. I caught up with her by phone over the previous weekend, when she was holed up in her Brooklyn apartment during a snowstorm.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: You grew up in a musical family, studied music when you were young, and have been making music all your life. Was comedy always in your back pocket as a career change? Was there something in particular that made you branch out?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jean Grae:\u003c/strong> I’m one of those people who believe we have a very short time in this physical world, so if you can go do a bunch of things, then you should. I did rap for like 25 years. That’s a long time — and even falling into that was kind of an accidental career, I knew that’s not necessarily what I wanted to be, or all I wanted to be. But it was, ‘I can do this, I like writing, and audiences, and music, and I’m really f-cking good at it. Oh, and also, you guys are giving me money.’ (Laughs.) At some point, I made a decision that when I got to 33 or 34, you know, ‘You have to go do this. This is your other life. Do it.’\u003c/p>\n\u003cp>I think about Jack Beers — do you know him? He was a strongman in New York, but then he went on to become an engineer, he built Radio City Music Hall, he was an actor, he had like eight or nine different lives. I think especially for women and especially for women of color, we’re not really encouraged as much to do that, to go be a f-ckin’ polymath if you’re multi-talented. And I’ve always admired people who incorporated all different kinds of performance in their careers — Gilda Radner, Josephine Baker.\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/-XCxKXbmW40'\n title='//www.youtube.com/embed/-XCxKXbmW40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sounds like the music world started to feel limiting for you.\u003c/strong>\u003c/p>\n\u003cp>Rap in general was always really confining and frustrating, and especially being put in a “female rapper” category, I never got to discuss all the other things I did. I engineered records, I produced them, but we’re never gonna talk about that. Also, in a really simple way, just having to rhyme stuff gets really boring. (Laughs.) People don’t talk like that! If you hung out with Dr. Seuss and he talked like that all the time, you’d be like “f-ck this dude.” So I get to have normal conversations now, and there is great freedom in [comedy] and in this new career path. People ask to me to do a show, and I say “What do you want me to do?” And they just say, “We just want you.”\u003c/p>\n\u003cp>\u003cstrong>Tell me about being a minister for the \u003ca href=\"http://www.unionhallny.com/event/1339987-church-infinite-you-minister-brooklyn/\" target=\"_blank\" rel=\"noopener\">Church of the Infinite You\u003c/a> — which is not exactly a traditional church. For one, it’s held at the Brooklyn music venue Union Hall.\u003c/strong>\u003c/p>\n\u003cp>Well, it’s definitely not a Christian church. It came out of me just talking to people — asking, ‘What do you really want to do?’ And then following up: ‘OK, why are you not doing that?’ Kind of Tyler Durden-ing, if you will, without the life-threatening gun in an alley situation, which I would also be down with, to be clear, but it’s kind of frowned upon. The Church is about having a place to talk about all the sh-t you want to do in your life, and saying ‘Yeah, you gotta go do that sh-t.’ Talking about how to be our 100-percent best.\u003c/p>\n\u003cp>As a general thing, once you get a bunch of people in a room, that collective energy — that’s what church is anyway — the more you create energy, the more you can actualize and realize things. It was important to not do it in a place that was sterile, either. It was ‘We need to be in a place where we can drink and curse, and you don’t have to feel weird — you can just be you here.’\u003c/p>\n\u003cp>It’s great. It can also be really overwhelming. During this last one I ended with a guided meditation to Radiohead, and I was like, ‘I don’t know if this is gonna work,’ but it did.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=79205023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=195542665/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>That kind of space seems like something a lot of people are going to need these next few years, considering… well, I don’t know if you want to talk politics.\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. Sure.\u003c/p>\n\u003cp>\u003cstrong>How did you spend election night?\u003c/strong>\u003c/p>\n\u003cp>Well, I didn’t have any alcohol in the house. And it got to be about 9pm, and I was like, ‘Oh no, oh I see, I’m gonna need some alcohol.’ So I immediately, in my best adult reaction, got some alcohol. And my boyfriend and I were actually in the middle of a breakup — he was in New Orleans and I was here, and we were on the phone the whole time. I think we both spent a lot of the first few hours being like, ‘Hold on, I have to go throw up.’ And then discussing, once we knew the outcome, it was like: life is short, and if this is gonna be how it is, we need to work our relationship out. Get our priorities straight. So that turned out to be great in a weird way. But it was a long f-cking night.\u003c/p>\n\u003cp>Look, although I am a U.S. citizen, I am an immigrant, I am a brown and black woman, I have a Muslim name [Grae’s real name is Tsidi Ibrahim]. My first reaction was like, “So, we should go, right?” I was up until four in the morning looking at other countries to move to. But you also realize as you’re making that decision — I’ve traveled to a lot of places — and some things might be better, but race relations aren’t exactly awesome right now in other parts of the world either.\u003c/p>\n\u003cp>I was also just not as surprised [by the outcome] as a lot of people. So there was the crying and the vomiting, but honestly it also didn’t feel foreign. I feel like we spent a lot of time doing that in the last year, in reaction to police shootings, just having to feel what it feels like to be black in America. And [the election] was a cap on all of that — kind of the resounding answer of “F-ck y’all.” It was just not that unexpected.\u003c/p>\n\u003cp>\u003cstrong>Do you feel creatively driven by that kind of pain? Obviously there’s this huge tradition of hip-hop as protest music… but I could also understand just wanting to curl up in the fetal position. \u003c/strong>\u003c/p>\n\u003cp>One thing is that it’s just difficult — it was difficult all of last year — trying to release projects, music, and it’s a sh-tty thing when you have a release you wanna put out but first you wake up and go, ‘Okay, who’s dead? What’s the hashtag?’ Do I have to feel insensitive putting something out now, or am I even gonna feel like doing it at all? I was doing a book, and I didn’t want to promote it, but you have to, because you need to eat; I can’t just stop working.\u003c/p>\n\u003cp>But again, it’s not a new feeling. I don’t feel like every artist has a responsibility to address it — everybody needs different outlets anyway. You have to go and laugh, you have to go dance. I was like, ‘Well, Church is going to be interesting.’ Also we have to understand better, obviously there are important artists who have come out of protest movements, but when people have been like, “I can’t wait for the great art that comes out of this”? Please shut the f-ck up. \u003ca href=\"https://www.theguardian.com/music/australia-news-blog/2016/dec/29/amanda-palmer-donald-trump-is-going-to-make-punk-rock-great-again\" target=\"_blank\" rel=\"noopener\">Amanda Palmer, shut the f-ck up\u003c/a>. “Oh, it’s gonna be so punk.” That’s like saying “Yeah, slavery, man — but how about that \u003cem>gospel \u003c/em>music though?” I don’t think you have to be experiencing great pain to create art.\u003c/p>\n\u003cp>\u003cstrong>Amen to that. Here’s a music vs. comedy question: Assuming it exists in both, how does the industry bullsh-t compare? Or the boys’ club aspect?\u003c/strong>\u003c/p>\n\u003cp>Nothing tops music industry bullsh-t, except for politics. Well, maybe sports. Never gonna find that out. I will say one thing, which is that in comedy, there are just so many more women. They’re everywhere! I’m really thankful that I’m here at a time when that’s the case.\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/nNpKyHMdcT0'\n title='//www.youtube.com/embed/nNpKyHMdcT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But also, I’ve come to realize, you could put me in any room and I’ll be fine, because I generally don’t exist. The blueprint for what I want, who I am, what I want my career to look like, that’s not a thing until I make it a thing. That’s why I find the title polymath so freeing. That’s what I want people to come away [from my shows] with, is we can all do those things. Well, not exactly what I’m doing, maybe; calm down. But everyone can be everything. We talk about being renaissance men and women, and if we really want to be that, it means if you’re curious about something, you have to just go do it. We don’t know how much time we have.\u003c/p>\n\u003cp>And also, we have the internet. Go learn something! 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jean Grae appears this Friday, Jan. 13 at WorkJuice Improv at the Brava Theatre in San Francisco. \u003ca href=\"https://sfsketchfest2017.sched.com/event/8wLm/workjuice-improv-with-craig-cackowski-mark-gagliardi-marc-evan-jackson-hal-lublin-annie-savage-paul-f-tompkins-janet-varney-and-guest-monologist-jean-grae?iframe=no&w=100%&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Tickets ($30) and more info here\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": "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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"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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"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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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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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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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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