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"content": "\u003cp>“Vocal ensembles” and “forward-thinking” aren’t often spoken together in the same sentence. But then, most vocal ensembles aren’t Conspiracy of Venus — a 30-strong all-women’s vocal ensemble who perform (mostly) a cappella renditions of unconventional modern pop standards from relentlessly singular artists (think Björk, Tom Waits, Leonard Cohen, Joni Mitchell, and David Bowie), plus original compositions by the ensemble’s director, Joyce Todd McBride.\u003c/p>\n\u003cp>The end result makes the new feel old and the old feel new, a delightful bit of cognitive dissonance which proves there’s much more to the vocal ensemble than one might associate with college a cappella groups and barbershop quartets.\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=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=909773819/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Conspiracy of Venus was founded in 2007, a sister group to the all-male \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/conspiracy-of-beards-leonard-cohen/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, a vocal ensemble with a similar schtick. (The Beards, it should be noted, perform the works of Leonard Cohen exclusively.) After several years performing in and around the Bay Area, Venus released their debut album, \u003ca href=\"https://conspiracyofvenus.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muse Ecology\u003c/em>\u003c/a>, in February 2016.\u003c/p>\n\u003cp>Arranged by McBride, and including a number of her own original compositions, \u003cem>Muse Ecology\u003c/em> shatters expectations about what vocal ensembles sound like. For one, the album isn’t strictly a cappella — interlocking vocal harmonies obviously account for the majority of its musical content, but jazzy flourishes (upright bass, marimba, drums) abound. Here, instrumentation buoys the singers’ voices, never overwhelming them; its inclusion feels like just another rule that Conspiracy of Venus are happy to break.\u003c/p>\n\u003cp>[ad fullwidth]\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=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2235697669/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Of course, Venus’s rulebreaking wouldn’t matter much if the music wasn’t up to snuff — it is, in spades. Thanks to McBride’s smart, tight arrangements and the lush, full range of the ensemble’s 30 vocalists, Conspiracy of Venus’s renderings of modern favorites, like Björk’s “Possibly Maybe,” will make you hear the originals in a whole new way. And realize, perhaps, that vocal ensembles are cooler than you thought.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Conspiracy of Venus perform at 7pm on Friday, Jan. 13, at The Red Poppy Art House in San Francisco; \u003ca href=\"http://redpoppyarthouse.org/event/conspiracy-of-venus-20170113/\" target=\"_blank\" rel=\"noopener\">tickets ($10-$20 sliding scale) and more info here\u003c/a>. (N.B.: The Red Poppy Art House is a small, cozy venue, and this show is expected to fill up fast. Early arrival is strongly recommended.)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Vocal ensembles” and “forward-thinking” aren’t often spoken together in the same sentence. But then, most vocal ensembles aren’t Conspiracy of Venus — a 30-strong all-women’s vocal ensemble who perform (mostly) a cappella renditions of unconventional modern pop standards from relentlessly singular artists (think Björk, Tom Waits, Leonard Cohen, Joni Mitchell, and David Bowie), plus original compositions by the ensemble’s director, Joyce Todd McBride.\u003c/p>\n\u003cp>The end result makes the new feel old and the old feel new, a delightful bit of cognitive dissonance which proves there’s much more to the vocal ensemble than one might associate with college a cappella groups and barbershop quartets.\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=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=909773819/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Conspiracy of Venus was founded in 2007, a sister group to the all-male \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/conspiracy-of-beards-leonard-cohen/\" target=\"_blank\" rel=\"noopener\">Conspiracy of Beards\u003c/a>, a vocal ensemble with a similar schtick. (The Beards, it should be noted, perform the works of Leonard Cohen exclusively.) After several years performing in and around the Bay Area, Venus released their debut album, \u003ca href=\"https://conspiracyofvenus.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muse Ecology\u003c/em>\u003c/a>, in February 2016.\u003c/p>\n\u003cp>Arranged by McBride, and including a number of her own original compositions, \u003cem>Muse Ecology\u003c/em> shatters expectations about what vocal ensembles sound like. For one, the album isn’t strictly a cappella — interlocking vocal harmonies obviously account for the majority of its musical content, but jazzy flourishes (upright bass, marimba, drums) abound. Here, instrumentation buoys the singers’ voices, never overwhelming them; its inclusion feels like just another rule that Conspiracy of Venus are happy to break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=1856373161/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2235697669/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Of course, Venus’s rulebreaking wouldn’t matter much if the music wasn’t up to snuff — it is, in spades. Thanks to McBride’s smart, tight arrangements and the lush, full range of the ensemble’s 30 vocalists, Conspiracy of Venus’s renderings of modern favorites, like Björk’s “Possibly Maybe,” will make you hear the originals in a whole new way. And realize, perhaps, that vocal ensembles are cooler than you thought.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Conspiracy of Venus perform at 7pm on Friday, Jan. 13, at The Red Poppy Art House in San Francisco; \u003ca href=\"http://redpoppyarthouse.org/event/conspiracy-of-venus-20170113/\" target=\"_blank\" rel=\"noopener\">tickets ($10-$20 sliding scale) and more info here\u003c/a>. (N.B.: The Red Poppy Art House is a small, cozy venue, and this show is expected to fill up fast. Early arrival is strongly recommended.)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the face of it, the opera and drag might not seem to have much in common. But in fact, cross-dressing and gender fluidity have been part of both art forms for as long as they have been in existence.\u003c/p>\n\u003cp>That’s why it made sense when the \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> reached out to Heklina, one of the Bay Area’s preeminent drag artists and the owner of \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a> nightclub in SOMA, about collaborating on an \u003ca href=\"http://sfopera.com/sfoperalab/season-two/sf-opera-lab-pop-up/\" target=\"_blank\" rel=\"noopener\">event\u003c/a>.\u003c/p>\n\u003cp>“Some of the first drag queens were in opera,” Heklina says. “So I’m really excited to see the singers in the context of Oasis.”\u003c/p>\n\u003cp>Our video delves into the shared history of the two art forms, and captures the spirit of Oasis and SF Opera’s one-time, pop-up drag opera soiree, held at Oasis on Sunday, Oct. 30, 2016.\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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more about the connection between opera and drag, read Charlise Tiee’s \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/drag-queen-heklina-pops-her-opera-cherry/\" target=\"_blank\" rel=\"noopener\">recent article\u003c/a> for KQED Arts.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, the opera and drag might not seem to have much in common. But in fact, cross-dressing and gender fluidity have been part of both art forms for as long as they have been in existence.\u003c/p>\n\u003cp>That’s why it made sense when the \u003ca href=\"http://sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> reached out to Heklina, one of the Bay Area’s preeminent drag artists and the owner of \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a> nightclub in SOMA, about collaborating on an \u003ca href=\"http://sfopera.com/sfoperalab/season-two/sf-opera-lab-pop-up/\" target=\"_blank\" rel=\"noopener\">event\u003c/a>.\u003c/p>\n\u003cp>“Some of the first drag queens were in opera,” Heklina says. “So I’m really excited to see the singers in the context of Oasis.”\u003c/p>\n\u003cp>Our video delves into the shared history of the two art forms, and captures the spirit of Oasis and SF Opera’s one-time, pop-up drag opera soiree, held at Oasis on Sunday, Oct. 30, 2016.\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": "\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=508382112&mediaId=508385300\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">David Bowie\u003c/a> had long wanted to make a record with a jazz band, and on Jan. 8 of last year, he realized his dream with the release of \u003cem>Blackstar\u003c/em>. Two days later, he was gone. \u003ca href=\"http://www.npr.org/artists/140672978/donny-mccaslin\" target=\"_blank\" rel=\"noopener\">Donny McCaslin\u003c/a>‘s band helped him make that record, and now, a year later, we pay tribute to Bowie and \u003cem>Blackstar\u003c/em> by bringing McCaslin’s band to the Tiny Desk.\u003c/p>\n\u003cp>It’s been exciting to see jazz find its way into the broader music world in recent years; think \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> and hip-hop in general. Musicians such as McCaslin often play in their own small circuit, but have much to offer popular music. As a bandleader and sax player, he’s put out a dozen albums, the most recent of which is \u003cem>Beyond Now\u003c/em>, with musicians Tim Lefebvre on bass, drummer Mark Guiliana and keyboardist Jason Lindner.\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> was recorded after \u003cem>Blackstar, \u003c/em>features a few Bowie covers and stretches the band’s own usual boundaries. For this Tiny Desk concert, you can hear an extraordinary group playing extraordinary music — including an instrumental version of “Lazarus,” from \u003cem>Blackstar\u003c/em>. Just as Bowie brought these musicians into his rock-leaning world, I hope this set takes you down McCaslin’s jazz path.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> is available now. (\u003ca href=\"https://itunes.apple.com/us/album/beyond-now-deluxe-edition/id1135903858\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>) (\u003ca href=\"https://www.amazon.com/Beyond-Now-Donny-McCaslin/dp/B01J6SD77Y\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a>)\u003c/p>\n\u003ch5>Set List\u003c/h5>\n\u003cul>\n\u003cli>“Shake Loose”\u003c/li>\n\u003cli>“Lazarus” (David Bowie)\u003c/li>\n\u003cli>“Glory”\u003c/li>\n\u003c/ul>\n\u003ch5>Musicians\u003c/h5>\n\u003cp>\u003cem>Donny McCaslin (saxophone); Jason Lindner (keys); Tim Lefebvre (bass); Mark Guiliana (drums).\u003c/em>\u003c/p>\n\u003ch5>\u003cstrong>Credits\u003c/strong>\u003c/h5>\n\u003cp>\u003cem>Producers: Bob Boilen, Niki Walker; Audio Engineer: Josh Rogosin; Videographers: Niki Walker, Nicole Boliaux; Production Assistant: Anna Marketti; Photo: Raquel Zaldivar/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donny+McCaslin%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=508382112&mediaId=508385300\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">David Bowie\u003c/a> had long wanted to make a record with a jazz band, and on Jan. 8 of last year, he realized his dream with the release of \u003cem>Blackstar\u003c/em>. Two days later, he was gone. \u003ca href=\"http://www.npr.org/artists/140672978/donny-mccaslin\" target=\"_blank\" rel=\"noopener\">Donny McCaslin\u003c/a>‘s band helped him make that record, and now, a year later, we pay tribute to Bowie and \u003cem>Blackstar\u003c/em> by bringing McCaslin’s band to the Tiny Desk.\u003c/p>\n\u003cp>It’s been exciting to see jazz find its way into the broader music world in recent years; think \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> and hip-hop in general. Musicians such as McCaslin often play in their own small circuit, but have much to offer popular music. As a bandleader and sax player, he’s put out a dozen albums, the most recent of which is \u003cem>Beyond Now\u003c/em>, with musicians Tim Lefebvre on bass, drummer Mark Guiliana and keyboardist Jason Lindner.\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> was recorded after \u003cem>Blackstar, \u003c/em>features a few Bowie covers and stretches the band’s own usual boundaries. For this Tiny Desk concert, you can hear an extraordinary group playing extraordinary music — including an instrumental version of “Lazarus,” from \u003cem>Blackstar\u003c/em>. Just as Bowie brought these musicians into his rock-leaning world, I hope this set takes you down McCaslin’s jazz path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyond Now\u003c/em> is available now. (\u003ca href=\"https://itunes.apple.com/us/album/beyond-now-deluxe-edition/id1135903858\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>) (\u003ca href=\"https://www.amazon.com/Beyond-Now-Donny-McCaslin/dp/B01J6SD77Y\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a>)\u003c/p>\n\u003ch5>Set List\u003c/h5>\n\u003cul>\n\u003cli>“Shake Loose”\u003c/li>\n\u003cli>“Lazarus” (David Bowie)\u003c/li>\n\u003cli>“Glory”\u003c/li>\n\u003c/ul>\n\u003ch5>Musicians\u003c/h5>\n\u003cp>\u003cem>Donny McCaslin (saxophone); Jason Lindner (keys); Tim Lefebvre (bass); Mark Guiliana (drums).\u003c/em>\u003c/p>\n\u003ch5>\u003cstrong>Credits\u003c/strong>\u003c/h5>\n\u003cp>\u003cem>Producers: Bob Boilen, Niki Walker; Audio Engineer: Josh Rogosin; Videographers: Niki Walker, Nicole Boliaux; Production Assistant: Anna Marketti; Photo: Raquel Zaldivar/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Donny+McCaslin%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Classical composers have long had their patrons: \u003ca href=\"http://www.npr.org/artists/15232481/ludwig-van-beethoven\" target=\"_blank\" rel=\"noopener\">Beethoven\u003c/a> had Archduke Rudolph, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91576532\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> had Betty Freeman. For contemporary opera composers, there’s \u003ca href=\"http://www.bethmorrisonprojects.org/\" target=\"_blank\" rel=\"noopener\">Beth Morrison\u003c/a>. She and her production company have commissioned new works from some of the most innovative emerging composers today.\u003c/p>\n\u003cp>Morrison is not your typical moneyed patron, though. “I didn’t come from money and I didn’t have money and I wanted to live in New York!” she says. She runs her empire from a two-bedroom walk-up apartment in Flatbush, Brooklyn.\u003c/p>\n\u003cp>One bedroom in the apartment is for sleeping. The other is a workspace for her eight employees. “I’ve always run the business from my home, maybe much to the chagrin of my board,” she says. “For me, the decision is always really clear: I could spend $30 to $40,000 on an office space every year, or I could put that into a commission.”\u003c/p>\n\u003cp>Morrison has commissioned works from David T. Little, Mohammed Fairouz and \u003ca href=\"http://www.npr.org/artists/129931742/missy-mazzoli\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>. Mazzoli, whose first opera, \u003cem>Song from the Uproar\u003c/em>, was produced by Morrison, calls her a true individual.\u003c/p>\n\u003cfigure id=\"attachment_12589283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg\" alt=\"'Breaking the Waves,' Missy Mazzoli's latest opera, makes its New York premiere this year at Beth Morrison's Prototype festival.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12589283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Breaking the Waves,’ Missy Mazzoli’s latest opera, makes its New York premiere this year at Beth Morrison’s Prototype festival. \u003ccite>(Dominic M. Mercier/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beth has this famous boot collection that is just amazing — it blows my mind,” Mazzoli says. “It’s sort of a symbol of this commitment of being an individual and to being an iconoclast and to doing things her own way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morrison says she follows her guts and her ears in her work. “I won’t do anything unless I’m mad crazy about the music and the composer and really feeling like they’re contributing something to the field that is different,” she says.\u003c/p>\n\u003cp>David T. Little says Morrison expressed this kind of excitement for his work \u003cem>Soldier Songs\u003c/em> after she watched a video he sent her. “[She] called me almost immediately and says, ‘We have to do this piece. I don’t know where we’re gonna get the money, I don’t know how we’re gonna do it … but we have to do it!'” he says.\u003c/p>\n\u003cp>Little says this moment was a perfect illustration of how Morrison works: When she’s excited about something, she makes it happen. Their work together has continued: Last year, Morrison featured Little’s post-apocalyptic opera, \u003cem>Dog Days, \u003c/em>at \u003ca href=\"http://prototypefestival.org/\" target=\"_blank\" rel=\"noopener\">Prototype\u003c/a>, the annual festival she co-produces to showcase new work. The 2017 festival begins tonight in New York.\u003c/p>\n\u003cp>Morrison doesn’t have her own theater. Instead, she partners with venues in New York and around the country to give works more than one hearing. “[Composers] need their works to be seen by as many people as possible,” she says. “I feel like I’ve succeeded — particularly with an opera project, ’cause they’re large and expensive — if we’ve been able to give two to five presentations of the piece in different cities.”\u003c/p>\n\u003cp>One project that achieved success by this metric was Mazzoli’s latest opera, \u003cem>Breaking the Waves\u003c/em>. Last fall, Morrison partnered with Opera Philadelphia to present the piece, and it’s now being done at this year’s Prototype festival. Kamala Sankaram, whose opera \u003cem>Thumbprint \u003c/em>premiered at the first Prototype, will see it restaged at LA Opera this June, thanks to Morrison’s efforts.\u003c/p>\n\u003cp>Morrison’s commitment to extending the life of her composers’ works has made them just as passionately devoted to her as she is to them. Sankaram says Morrison’s work is not easy.\u003c/p>\n\u003cp>“To make contemporary opera your business takes a lot of guts,” Sankaram says. “I don’t want to go there too much, but there’s still a lot of sexism in our field, and so for her to do this on her own is really kind of astonishing.”\u003c/p>\n\u003cp>Morrison’s current season includes five world premieres, nine tours and her annual festival — all funded and produced out of her apartment-based nonprofit. Her schedule is certainly packed, but she says championing new composers has been intensely rewarding work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s been thrilling to be a part of the launch of these incredible composers,” she says. “It really has been this symbiotic relationship that I feel very grateful for.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+The+Producer+Who+Runs+Her+Opera+Empire+From+A+Two-Bedroom+Apartment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Classical composers have long had their patrons: \u003ca href=\"http://www.npr.org/artists/15232481/ludwig-van-beethoven\" target=\"_blank\" rel=\"noopener\">Beethoven\u003c/a> had Archduke Rudolph, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=91576532\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> had Betty Freeman. For contemporary opera composers, there’s \u003ca href=\"http://www.bethmorrisonprojects.org/\" target=\"_blank\" rel=\"noopener\">Beth Morrison\u003c/a>. She and her production company have commissioned new works from some of the most innovative emerging composers today.\u003c/p>\n\u003cp>Morrison is not your typical moneyed patron, though. “I didn’t come from money and I didn’t have money and I wanted to live in New York!” she says. She runs her empire from a two-bedroom walk-up apartment in Flatbush, Brooklyn.\u003c/p>\n\u003cp>One bedroom in the apartment is for sleeping. The other is a workspace for her eight employees. “I’ve always run the business from my home, maybe much to the chagrin of my board,” she says. “For me, the decision is always really clear: I could spend $30 to $40,000 on an office space every year, or I could put that into a commission.”\u003c/p>\n\u003cp>Morrison has commissioned works from David T. Little, Mohammed Fairouz and \u003ca href=\"http://www.npr.org/artists/129931742/missy-mazzoli\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>. Mazzoli, whose first opera, \u003cem>Song from the Uproar\u003c/em>, was produced by Morrison, calls her a true individual.\u003c/p>\n\u003cfigure id=\"attachment_12589283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg\" alt=\"'Breaking the Waves,' Missy Mazzoli's latest opera, makes its New York premiere this year at Beth Morrison's Prototype festival.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12589283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/btw-018-dominic-mercier_wide-e154529fa381f1afe3e1292b3b98cf0dcb85f55d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Breaking the Waves,’ Missy Mazzoli’s latest opera, makes its New York premiere this year at Beth Morrison’s Prototype festival. \u003ccite>(Dominic M. Mercier/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Beth has this famous boot collection that is just amazing — it blows my mind,” Mazzoli says. “It’s sort of a symbol of this commitment of being an individual and to being an iconoclast and to doing things her own way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morrison says she follows her guts and her ears in her work. “I won’t do anything unless I’m mad crazy about the music and the composer and really feeling like they’re contributing something to the field that is different,” she says.\u003c/p>\n\u003cp>David T. Little says Morrison expressed this kind of excitement for his work \u003cem>Soldier Songs\u003c/em> after she watched a video he sent her. “[She] called me almost immediately and says, ‘We have to do this piece. I don’t know where we’re gonna get the money, I don’t know how we’re gonna do it … but we have to do it!'” he says.\u003c/p>\n\u003cp>Little says this moment was a perfect illustration of how Morrison works: When she’s excited about something, she makes it happen. Their work together has continued: Last year, Morrison featured Little’s post-apocalyptic opera, \u003cem>Dog Days, \u003c/em>at \u003ca href=\"http://prototypefestival.org/\" target=\"_blank\" rel=\"noopener\">Prototype\u003c/a>, the annual festival she co-produces to showcase new work. The 2017 festival begins tonight in New York.\u003c/p>\n\u003cp>Morrison doesn’t have her own theater. Instead, she partners with venues in New York and around the country to give works more than one hearing. “[Composers] need their works to be seen by as many people as possible,” she says. “I feel like I’ve succeeded — particularly with an opera project, ’cause they’re large and expensive — if we’ve been able to give two to five presentations of the piece in different cities.”\u003c/p>\n\u003cp>One project that achieved success by this metric was Mazzoli’s latest opera, \u003cem>Breaking the Waves\u003c/em>. Last fall, Morrison partnered with Opera Philadelphia to present the piece, and it’s now being done at this year’s Prototype festival. Kamala Sankaram, whose opera \u003cem>Thumbprint \u003c/em>premiered at the first Prototype, will see it restaged at LA Opera this June, thanks to Morrison’s efforts.\u003c/p>\n\u003cp>Morrison’s commitment to extending the life of her composers’ works has made them just as passionately devoted to her as she is to them. Sankaram says Morrison’s work is not easy.\u003c/p>\n\u003cp>“To make contemporary opera your business takes a lot of guts,” Sankaram says. “I don’t want to go there too much, but there’s still a lot of sexism in our field, and so for her to do this on her own is really kind of astonishing.”\u003c/p>\n\u003cp>Morrison’s current season includes five world premieres, nine tours and her annual festival — all funded and produced out of her apartment-based nonprofit. Her schedule is certainly packed, but she says championing new composers has been intensely rewarding work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s been thrilling to be a part of the launch of these incredible composers,” she says. “It really has been this symbiotic relationship that I feel very grateful for.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+The+Producer+Who+Runs+Her+Opera+Empire+From+A+Two-Bedroom+Apartment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Symphony announced this week that its conductor, Joana Carneiro, will not be at the podium at its concert later this month. Instead, the symphony will be helmed by guest conductor Christian Reif from the San Francisco Symphony.\u003c/p>\n\u003cp>This is Berkeley Symphony’s third scheduled concert Carneiro has had to pass on, but the organization finally let on why she’s missed so many engagements: she’s pregnant. \u003c/p>\n\u003cfigure id=\"attachment_12590080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/reif-3_orig-800x1006.jpg\" alt=\"Christian Reif, Guest Conductor\" width=\"800\" height=\"1006\" class=\"size-medium wp-image-12590080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif, Guest Conductor \u003ccite>(Courtesy of Berkeley Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Carneiro is pregnant and is under doctor’s advice not to conduct or travel,” the \u003ca href=\"http://www.berkeleysymphony.org/wp-content/uploads/2017/01/Berkeley-Symphony-Jan-26-concert_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">press release stated\u003c/a>. \u003c/p>\n\u003cp>Carneiro was hired as the symphony’s musical director in 2009, becoming the third person to hold that position in the institution’s 40-year history. The daughter of a former minister of education for Portugal, Carneiro still lives in her native country, working as the principal conductor of the Orquesta Sinfonica Portuguesa and the Teatro Sao Carlos in Lisbon. \u003c/p>\n\u003cp>The Berkeley Symphony’s next performance will be the Bay Area premiere of Mason Bates’s new cello concerto on Jan. 26 at Zellerbach Hall. Celloist Joshua Roman will be the featured performer and Reif will conduct the orchestra. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Symphony announced this week that its conductor, Joana Carneiro, will not be at the podium at its concert later this month. Instead, the symphony will be helmed by guest conductor Christian Reif from the San Francisco Symphony.\u003c/p>\n\u003cp>This is Berkeley Symphony’s third scheduled concert Carneiro has had to pass on, but the organization finally let on why she’s missed so many engagements: she’s pregnant. \u003c/p>\n\u003cfigure id=\"attachment_12590080\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/reif-3_orig-800x1006.jpg\" alt=\"Christian Reif, Guest Conductor\" width=\"800\" height=\"1006\" class=\"size-medium wp-image-12590080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/reif-3_orig-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Reif, Guest Conductor \u003ccite>(Courtesy of Berkeley Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Carneiro is pregnant and is under doctor’s advice not to conduct or travel,” the \u003ca href=\"http://www.berkeleysymphony.org/wp-content/uploads/2017/01/Berkeley-Symphony-Jan-26-concert_FINAL.pdf\" target=\"_blank\" rel=\"noopener\">press release stated\u003c/a>. \u003c/p>\n\u003cp>Carneiro was hired as the symphony’s musical director in 2009, becoming the third person to hold that position in the institution’s 40-year history. The daughter of a former minister of education for Portugal, Carneiro still lives in her native country, working as the principal conductor of the Orquesta Sinfonica Portuguesa and the Teatro Sao Carlos in Lisbon. \u003c/p>\n\u003cp>The Berkeley Symphony’s next performance will be the Bay Area premiere of Mason Bates’s new cello concerto on Jan. 26 at Zellerbach Hall. Celloist Joshua Roman will be the featured performer and Reif will conduct the orchestra. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dx-Mho3qU2I\u003c/p>\n\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vO2URhI_AEk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-AVifTdjtvE&t=346s\u003c/p>\n\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3De0E_1x1Rw\u003c/p>\n\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aPQb6XkxNL4\u003c/p>\n\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" 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\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
"description": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"headline": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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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/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\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/Dx-Mho3qU2I'\n title='//www.youtube.com/embed/Dx-Mho3qU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vO2URhI_AEk'\n title='//www.youtube.com/embed/vO2URhI_AEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-AVifTdjtvE'\n title='//www.youtube.com/embed/-AVifTdjtvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see 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/3De0E_1x1Rw'\n title='//www.youtube.com/embed/3De0E_1x1Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" 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/aPQb6XkxNL4'\n title='//www.youtube.com/embed/aPQb6XkxNL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "get-some-literary-punk-history-at-the-lookout-bookout-bash-in-berkeley",
"title": "Get Some Literary Punk History at the Lookout! Bookout! Bash in Berkeley",
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"content": "\u003cp>There’s this thing that happens when you’re a fan of punk rock — though it surely afflicts other scenes as well — in which it always seems like you \u003cem>just\u003c/em> missed the party. “Real punk was over by 1984,” is a phrase you might have heard, if you started getting into it in 1985. I grew up blocks from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, but by the time I went to my first show there in 1999, it was apparent that I’d missed the golden age of East Bay punk by five to 15 years, depending on whom I asked.\u003c/p>\n\u003cp>Luckily, there are history books — though I don’t expect the ones being feted this Saturday, Jan. 7 at \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">The Lookout! Bookout! Bash\u003c/a> at the Berkeley Public Library’s North Berkeley Branch to appear on standardized high school reading lists anytime soon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLp2ECVF4Bg\u003c/p>\n\u003cp>Featuring appearances by Lookout Records founder Larry Livermore, Pansy Division’s Jon Ginoli, Mr. T Experience’s Frank Portman, Jüke’s Nick Wolfinger, and the Smugglers’ Grant Lawrence, this afternoon event is an aptly named celebration of books about Bay Area punk. It also serves as the literary component to \u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">The Lookouting\u003c/a>, a four-day festival celebrating the 30th anniversary of 924 Gilman via a slew of bands affiliated with Lookout Records in the early ’90s.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12580946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\" alt=\"61fl4a71kgl\" width=\"332\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg 332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-240x361.jpg 240w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">Read more about The Lookouting, a celebration of Lookout Records, here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>One benefit of waiting 30-odd years to wax poetic on a scene is, apparently, that several of its central figures have actually authored books — and in at least one case, have gone on to legit literary careers. MTX’s Portman, or Dr. Frank, has made a second name for himself as a novelist, with his well-received\u003cem> King Dork\u003c/em> series.\u003c/p>\n\u003cp>And hey, nothing like the best of both worlds: If an afternoon at the library leaves you feeling a little tame, both he and Ginoli (whose memoir \u003cem>Deflowered: My Life in Pansy Division \u003c/em>chronicles his experiences with the groundbreaking queer punk band) will also perform later in the evening, with full bands, at Gilman — the all-ages club where, despite what nostalgia might tell you, the party is absolutely still going strong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lookout! Bookout! Bash takes place from 12:30 to 2pm on Saturday, Jan. 7 at the North branch of the Berkeley Public Library. Free; \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" 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>There’s this thing that happens when you’re a fan of punk rock — though it surely afflicts other scenes as well — in which it always seems like you \u003cem>just\u003c/em> missed the party. “Real punk was over by 1984,” is a phrase you might have heard, if you started getting into it in 1985. I grew up blocks from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, but by the time I went to my first show there in 1999, it was apparent that I’d missed the golden age of East Bay punk by five to 15 years, depending on whom I asked.\u003c/p>\n\u003cp>Luckily, there are history books — though I don’t expect the ones being feted this Saturday, Jan. 7 at \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">The Lookout! Bookout! Bash\u003c/a> at the Berkeley Public Library’s North Berkeley Branch to appear on standardized high school reading lists anytime soon.\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/gLp2ECVF4Bg'\n title='//www.youtube.com/embed/gLp2ECVF4Bg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring appearances by Lookout Records founder Larry Livermore, Pansy Division’s Jon Ginoli, Mr. T Experience’s Frank Portman, Jüke’s Nick Wolfinger, and the Smugglers’ Grant Lawrence, this afternoon event is an aptly named celebration of books about Bay Area punk. It also serves as the literary component to \u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">The Lookouting\u003c/a>, a four-day festival celebrating the 30th anniversary of 924 Gilman via a slew of bands affiliated with Lookout Records in the early ’90s.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12580946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\" alt=\"61fl4a71kgl\" width=\"332\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg 332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-240x361.jpg 240w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">Read more about The Lookouting, a celebration of Lookout Records, here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>One benefit of waiting 30-odd years to wax poetic on a scene is, apparently, that several of its central figures have actually authored books — and in at least one case, have gone on to legit literary careers. MTX’s Portman, or Dr. Frank, has made a second name for himself as a novelist, with his well-received\u003cem> King Dork\u003c/em> series.\u003c/p>\n\u003cp>And hey, nothing like the best of both worlds: If an afternoon at the library leaves you feeling a little tame, both he and Ginoli (whose memoir \u003cem>Deflowered: My Life in Pansy Division \u003c/em>chronicles his experiences with the groundbreaking queer punk band) will also perform later in the evening, with full bands, at Gilman — the all-ages club where, despite what nostalgia might tell you, the party is absolutely still going strong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lookout! Bookout! Bash takes place from 12:30 to 2pm on Saturday, Jan. 7 at the North branch of the Berkeley Public Library. Free; \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" 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>Mariah Carey says she was “mortified” in “real time” during her disastrous live performance moments before the ball dropped on ABC’s \u003cem>Dick Clark’s Rockin’ New Year’s Eve\u003c/em>.\u003c/p>\n\u003cp>Carey spoke to Entertainment Weekly in her first interview since the show in which she stumbled through her songs. At many points she stopped singing, even while a prerecorded vocal track played in the background.\u003c/p>\n\u003cp>Carey’s publicist blamed show producer Dick Clark Productions earlier this week for not addressing technical difficulties before the performance, including a malfunctioning earpiece. Carey reiterated that stance to EW and praised the late Clark.\u003c/p>\n\u003cp>“I’m of the opinion that Dick Clark would not have let an artist go through that and he would have been as mortified as I was in real time,” she said.\u003c/p>\n\u003cp>While she described the night as “a horrible New Year’s Eve,” Carey said the experience wouldn’t stop her from doing another live television performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But it will make me less trusting of using anyone outside of my own team,” she added.\u003c/p>\n\u003cp>Dick Clark Productions has called the Carey camp’s claims “absurd” and said an internal investigation showed the company had no involvement in the issues affecting Carey’s performance.\u003c/p>\n\u003cp>\u003cem>Rockin New Year’s Eve\u003c/em> co-host Jenny McCarthy defended Dick Clark Productions on her SiriusXM radio show Tuesday, saying “for Mariah to defame them was so incredibly insulting.”\u003c/p>\n\u003cp>“The truth of the matter is Mariah didn’t do a sound check,” McCarthy said.\u003c/p>\n\u003cp>Instead, Carey rehearsed her stage movements but stood off to the side while having a stand-in do a sound check, according to McCarthy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a television personality, McCarthy said she initially empathized with Carey during what she described as “a complete train wreck.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Carey says she was “mortified” in “real time” during her disastrous live performance moments before the ball dropped on ABC’s \u003cem>Dick Clark’s Rockin’ New Year’s Eve\u003c/em>.\u003c/p>\n\u003cp>Carey spoke to Entertainment Weekly in her first interview since the show in which she stumbled through her songs. At many points she stopped singing, even while a prerecorded vocal track played in the background.\u003c/p>\n\u003cp>Carey’s publicist blamed show producer Dick Clark Productions earlier this week for not addressing technical difficulties before the performance, including a malfunctioning earpiece. Carey reiterated that stance to EW and praised the late Clark.\u003c/p>\n\u003cp>“I’m of the opinion that Dick Clark would not have let an artist go through that and he would have been as mortified as I was in real time,” she said.\u003c/p>\n\u003cp>While she described the night as “a horrible New Year’s Eve,” Carey said the experience wouldn’t stop her from doing another live television performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But it will make me less trusting of using anyone outside of my own team,” she added.\u003c/p>\n\u003cp>Dick Clark Productions has called the Carey camp’s claims “absurd” and said an internal investigation showed the company had no involvement in the issues affecting Carey’s performance.\u003c/p>\n\u003cp>\u003cem>Rockin New Year’s Eve\u003c/em> co-host Jenny McCarthy defended Dick Clark Productions on her SiriusXM radio show Tuesday, saying “for Mariah to defame them was so incredibly insulting.”\u003c/p>\n\u003cp>“The truth of the matter is Mariah didn’t do a sound check,” McCarthy said.\u003c/p>\n\u003cp>Instead, Carey rehearsed her stage movements but stood off to the side while having a stand-in do a sound check, according to McCarthy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a television personality, McCarthy said she initially empathized with Carey during what she described as “a complete train wreck.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nL3f9fAAUq4\u003c/p>\n\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\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/nL3f9fAAUq4'\n title='//www.youtube.com/embed/nL3f9fAAUq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">“Under The Big Black Sun: A Personal History of L.A. Punk.”\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300829667″ 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>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There’s this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">“The Westerner.”\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote “Dances with Wolves.” He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like “what’s over the next hill?” For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, “A Little Help,” about farmworkers.\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2xHsn5ipt2o\u003c/p>\n\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years — AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YbEhts7g-4U\u003c/p>\n\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on “Under the Big Black Sun”] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early ’80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/300826100″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">“Under The Big Black Sun: A Personal History of L.A. Punk.”\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\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/300829667″&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/300829667″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There’s this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">“The Westerner.”\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote “Dances with Wolves.” He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like “what’s over the next hill?” For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, “A Little Help,” about farmworkers.\u003c/b>\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/2xHsn5ipt2o'\n title='//www.youtube.com/embed/2xHsn5ipt2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years — AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\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/YbEhts7g-4U'\n title='//www.youtube.com/embed/YbEhts7g-4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on “Under the Big Black Sun”] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early ’80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/300826100″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/300826100″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Festival season might seem far off, but if you already have food trucks and flower crowns on the brain, you’re in luck: The full lineup for the \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">2017 BottleRock Napa Valley Music Festival\u003c/a> was announced this morning. The three-day music, beer, wine and food binge will take place Friday, May 26 through Sunday, May 28, at the Napa Valley Expo, with headliners Foo Fighters, Tom Petty & the Heartbreakers, and Maroon 5.\u003c/p>\n\u003cp>Rounding out this year’s offerings are Macklemore & Ryan Lewis, Modest Mouse, Ben Harper, The Roots, and a few other dozen other bands that fall mostly into the alt-rock, folk and soul genres, with a legacy act or two (Warren G!) sprinkled in for good measure.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2017-artists/\" target=\"_blank\" rel=\"noopener\">View the full lineup here\u003c/a>. Three-day passes for the festival go on sale Wednesday, Jan. 4 at 10am PT, with \u003ca href=\"http://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener\">general admission starting at $309\u003c/a>; single-day tickets will likely be released in the coming weeks.\u003c/p>\n\u003cp>In the meantime, check out KQED Arts’ review of the 2016 festival \u003ca href=\"https://ww2.kqed.org/arts/2016/05/28/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Festival season might seem far off, but if you already have food trucks and flower crowns on the brain, you’re in luck: The full lineup for the \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">2017 BottleRock Napa Valley Music Festival\u003c/a> was announced this morning. The three-day music, beer, wine and food binge will take place Friday, May 26 through Sunday, May 28, at the Napa Valley Expo, with headliners Foo Fighters, Tom Petty & the Heartbreakers, and Maroon 5.\u003c/p>\n\u003cp>Rounding out this year’s offerings are Macklemore & Ryan Lewis, Modest Mouse, Ben Harper, The Roots, and a few other dozen other bands that fall mostly into the alt-rock, folk and soul genres, with a legacy act or two (Warren G!) sprinkled in for good measure.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bottlerocknapavalley.com/lineup-schedule/2017-artists/\" target=\"_blank\" rel=\"noopener\">View the full lineup here\u003c/a>. Three-day passes for the festival go on sale Wednesday, Jan. 4 at 10am PT, with \u003ca href=\"http://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener\">general admission starting at $309\u003c/a>; single-day tickets will likely be released in the coming weeks.\u003c/p>\n\u003cp>In the meantime, check out KQED Arts’ review of the 2016 festival \u003ca href=\"https://ww2.kqed.org/arts/2016/05/28/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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