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"content": "\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ReHIe0WDvNs\u003c/p>\n\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\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/ReHIe0WDvNs'\n title='//www.youtube.com/embed/ReHIe0WDvNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED’s Cy Musiker and the Chronicle’s David Wiegand share their picks for great events around the Bay Area this week.\u003c/p>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161230.mp3\u003c/p>\n\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NqnbYDX3-48\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xITauHjfK_Q\u003c/p>\n\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QojRx1sJVsI\u003c/p>\n\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLRFswb167Y\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NqnbYDX3-48'\n title='//www.youtube.com/embed/NqnbYDX3-48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xITauHjfK_Q'\n title='//www.youtube.com/embed/xITauHjfK_Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" 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/QojRx1sJVsI'\n title='//www.youtube.com/embed/QojRx1sJVsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" 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/OLRFswb167Y'\n title='//www.youtube.com/embed/OLRFswb167Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, New Year’s Eve. The one night a year when even the most straight-laced among us get dolled up, hit the dance floor, swig champagne … and kick off a new year under a small mountain of credit card debt thanks to New Year’s Eve ticket prices.\u003c/p>\n\u003cp>Yes, a brief look at most venues’ entertainment calendars will reveal a none-too-subtle spike in admission costs come Dec. 31. Don’t get me wrong — there are some great shows happening this year, and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths/\" target=\"_blank\" rel=\"noopener\">some of them\u003c/a> are worth \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/cy-and-davids-picks-benefits-for-the-ghost-ship-fire-the-blasters-return-and-a-perfect-new-years-eve/\" target=\"_blank\" rel=\"noopener\">every penny\u003c/a>.\u003c/p>\n\u003cp>But if you’re not in a position to dole out $75 or more on a single evening’s entertainment, you’re not alone. Here are a handful of shows with tickets still available where you can be through the door and boogying (or moshing, or listening attentively) for $40 or under.\u003c/p>\n\u003cp>\u003cstrong>Knapsack, Never Young and Cutlass Supreme at Bottom of the Hill\u003c/strong>\u003cbr>\nPost-hardcore, emo core, noise rock, good ol’ American punk — if you’re looking to give your body over to the controlled chaos of a thrashy dance floor this New Year’s Eve, there’s no better place to be. Hometown boys \u003ca href=\"https://www.facebook.com/neveryoung1mil/\" target=\"_blank\" rel=\"noopener\">Never Young\u003c/a> put on an especially cathartic live show. Tickets $20 – $25; \u003ca href=\"http://www.bottomofthehill.com/20161231.html#.WGQsI2QrK2w\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_vH3_Nk_0IA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Soulovely, w/ MoonCandy Live House Ensemble Project and DJ Bisou at The New Parish\u003c/strong>\u003cbr>\nSoulovely is a monthly daytime soul and hip-hop dance party that’s become a go-to spot for East Bay queer women of every stripe — it feels like Oakland through and through. This amped-up version will see its regular headliners taking their rightful place at center stage: Singer and MC \u003ca href=\"https://aimathedreamer.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a> with DJs \u003ca href=\"http://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a> and \u003ca href=\"https://www.facebook.com/djemancipacion/\" target=\"_blank\" rel=\"noopener\">Emancipacion\u003c/a>. Come ready to dance. Tickets $20 – $25; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6991285&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u7ozWccV4SM\u003c/p>\n\u003cp>\u003cstrong>Rupa and the April Fishes at the Ivy Room\u003c/strong>\u003cbr>\nMulti-genre, multilingual, and always multitasking — frontwoman Rupa Marya is a physician, somehow, in her other life — Rupa and the April Fishes are a well-oiled, well-loved Bay Area staple. Their music blends reggae, punk, jazz, and more, often infused with social justice themes; the band just returned from Standing Rock, so this unpretentious neighborhood show in Albany should be a particularly interesting one. Tickets $40; \u003ca href=\"http://ivyroom.ticketfly.com/event/1364205-new-years-in-neighborhood-albany/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8ylsfuC9xFI\u003c/p>\n\u003cp>\u003cstrong>Cool Ghouls w/ Smokin’ Ziggurats, Sugar Candy Mountain and Midnight Sons at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nA lot of people will tell you the heyday of San Francisco psych-rock is long gone. To them I say: Sure, maybe, but I’m too busy dancing to Cool Ghouls’ endearingly lo-fi, ’60s pop- and surf-flecked variety to debate that right now. Fellow locals Sugar Candy Mountain will provide far-out sounds that make it worth showing up early, too. Tickets $15; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7012355&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9KoX444NnI4\u003c/p>\n\u003cp>\u003cstrong>Faye Carol at Cafe Stritch\u003c/strong>\u003cbr>\nMississippi-born Faye Carol has been part of the Bay Area’s jazz and blues ecosystem since the ’90s. The soulful singer and sometime music teacher has won just about every local award in existence (see below), and she’s collaborated with everyone from Marvin Gaye to Marcus Shelby — but San Jose’s Cafe Stritch made the right choice in giving her a multiple-night residency to call all her own. Tickets $20; \u003ca href=\"http://www.cafestritch.com/event/the-dynamic-faye-carol-residency/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5mCXXdxz6qM\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, New Year’s Eve. The one night a year when even the most straight-laced among us get dolled up, hit the dance floor, swig champagne … and kick off a new year under a small mountain of credit card debt thanks to New Year’s Eve ticket prices.\u003c/p>\n\u003cp>Yes, a brief look at most venues’ entertainment calendars will reveal a none-too-subtle spike in admission costs come Dec. 31. Don’t get me wrong — there are some great shows happening this year, and \u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths/\" target=\"_blank\" rel=\"noopener\">some of them\u003c/a> are worth \u003ca href=\"https://ww2.kqed.org/arts/2016/12/08/cy-and-davids-picks-benefits-for-the-ghost-ship-fire-the-blasters-return-and-a-perfect-new-years-eve/\" target=\"_blank\" rel=\"noopener\">every penny\u003c/a>.\u003c/p>\n\u003cp>But if you’re not in a position to dole out $75 or more on a single evening’s entertainment, you’re not alone. Here are a handful of shows with tickets still available where you can be through the door and boogying (or moshing, or listening attentively) for $40 or under.\u003c/p>\n\u003cp>\u003cstrong>Knapsack, Never Young and Cutlass Supreme at Bottom of the Hill\u003c/strong>\u003cbr>\nPost-hardcore, emo core, noise rock, good ol’ American punk — if you’re looking to give your body over to the controlled chaos of a thrashy dance floor this New Year’s Eve, there’s no better place to be. Hometown boys \u003ca href=\"https://www.facebook.com/neveryoung1mil/\" target=\"_blank\" rel=\"noopener\">Never Young\u003c/a> put on an especially cathartic live show. Tickets $20 – $25; \u003ca href=\"http://www.bottomofthehill.com/20161231.html#.WGQsI2QrK2w\" target=\"_blank\" rel=\"noopener\">details 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/_vH3_Nk_0IA'\n title='//www.youtube.com/embed/_vH3_Nk_0IA'\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>Soulovely, w/ MoonCandy Live House Ensemble Project and DJ Bisou at The New Parish\u003c/strong>\u003cbr>\nSoulovely is a monthly daytime soul and hip-hop dance party that’s become a go-to spot for East Bay queer women of every stripe — it feels like Oakland through and through. This amped-up version will see its regular headliners taking their rightful place at center stage: Singer and MC \u003ca href=\"https://aimathedreamer.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Aima the Dreamer\u003c/a> with DJs \u003ca href=\"http://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a> and \u003ca href=\"https://www.facebook.com/djemancipacion/\" target=\"_blank\" rel=\"noopener\">Emancipacion\u003c/a>. Come ready to dance. Tickets $20 – $25; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6991285&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">details 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/u7ozWccV4SM'\n title='//www.youtube.com/embed/u7ozWccV4SM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Rupa and the April Fishes at the Ivy Room\u003c/strong>\u003cbr>\nMulti-genre, multilingual, and always multitasking — frontwoman Rupa Marya is a physician, somehow, in her other life — Rupa and the April Fishes are a well-oiled, well-loved Bay Area staple. Their music blends reggae, punk, jazz, and more, often infused with social justice themes; the band just returned from Standing Rock, so this unpretentious neighborhood show in Albany should be a particularly interesting one. Tickets $40; \u003ca href=\"http://ivyroom.ticketfly.com/event/1364205-new-years-in-neighborhood-albany/\" target=\"_blank\" rel=\"noopener\">details 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/8ylsfuC9xFI'\n title='//www.youtube.com/embed/8ylsfuC9xFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Cool Ghouls w/ Smokin’ Ziggurats, Sugar Candy Mountain and Midnight Sons at Brick & Mortar Music Hall\u003c/strong>\u003cbr>\nA lot of people will tell you the heyday of San Francisco psych-rock is long gone. To them I say: Sure, maybe, but I’m too busy dancing to Cool Ghouls’ endearingly lo-fi, ’60s pop- and surf-flecked variety to debate that right now. Fellow locals Sugar Candy Mountain will provide far-out sounds that make it worth showing up early, too. Tickets $15; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7012355&pl=brickmortar&REFID=brickmortar\" target=\"_blank\" rel=\"noopener\">details 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/9KoX444NnI4'\n title='//www.youtube.com/embed/9KoX444NnI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Faye Carol at Cafe Stritch\u003c/strong>\u003cbr>\nMississippi-born Faye Carol has been part of the Bay Area’s jazz and blues ecosystem since the ’90s. The soulful singer and sometime music teacher has won just about every local award in existence (see below), and she’s collaborated with everyone from Marvin Gaye to Marcus Shelby — but San Jose’s Cafe Stritch made the right choice in giving her a multiple-night residency to call all her own. Tickets $20; \u003ca href=\"http://www.cafestritch.com/event/the-dynamic-faye-carol-residency/\" target=\"_blank\" rel=\"noopener\">details 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/5mCXXdxz6qM'\n title='//www.youtube.com/embed/5mCXXdxz6qM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Rapper Alia Sharrief Wants Trump to Know She’s Not Scared",
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"content": "\u003cp>Alia Sharrief arrives for our interview wearing an oversized T-shirt that reads “Danger: Educated Black Woman” over her tunic. It’s paired with a flowing red and black hijab. Her grandmother, Margaret Block, was \u003ca href=\"http://sfbayview.com/2015/06/tribute-to-civil-rights-activist-margaret-block/\" target=\"_blank\" rel=\"noopener\">a well-known Black Panther\u003c/a>; after she passed away in 2015, Sharrief Googled her name and found photos of her grandmother wearing a T-shirt with the same slogan.\u003c/p>\n\u003cp>“She’s my whole inspiration for what I do,” says Sharrief, a rapper and activist based in Oakland. “She told me, when I was little, to pencil-whip ’em. I never got it ’til she explained to me: Instead of getting all stressed or depressed or irritated or angry, you need to use your pencil as a weapon and write the hardest thing you can write.”\u003c/p>\n\u003cp>That advice has certainly translated to Sharrief’s approach to her work, which deftly reflects her identity: she’s a rapper and a women’s rights activist; a black woman and a devout Muslim. It’s not unusual to find her speaking at a protest one day and shooting a music video in a lowrider the next. When she’s not in the studio or performing, she’s organizing youth workshops and running \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">The Hijabi Chronicles\u003c/a>, an online platform that celebrates the creativity of Muslim women.\u003c/p>\n\u003cp>At the moment, Sharrief is working on her upcoming album \u003cem>Back On My Deen\u003c/em>, a project with outspoken lyrics and funky, danceable beats with “Bay slap” in them, as she puts it. “Deen,” Sharrief explains, is a word from the Quran that refers to a righteous path. Sharrief wants to use the album to amplify her voice at a time when, she says, Muslim women rarely get a chance to tell their own stories in the media and pop culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9NPtaViaLg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With this specific project, it was just a way for me to speak up for not only myself, but for the millions of women and Muslim women who are seen as oppressed or seen as having a disadvantage because I have on a hijab, or that I have a disadvantage because my skin is dark,” she says coolly. “On this album, I embrace everything I am and everything that is rejected and marginalized in this industry.”\u003c/p>\n\u003cp>Sharrief is busy these days. Before she releases the album at the end of February, she’s dropping the EP \u003cem>Don’t Forget Me\u003c/em> in early January. In contrast to the full-length project, \u003cem>Don’t Forget Me\u003c/em> is light-hearted, with feel-good tracks more in the vein of her autobiographical 2012 debut, \u003cem>Mental Cycles & Mood Swings, \u003c/em>an album that grappled with self-discovery and coming of age.\u003c/p>\n\u003cp>“I’m not a preacher in my music,” she says of the contrast between the two records, adding that she admires how Tupac and Lauryn Hill balanced making catchy and meaningful work.\u003c/p>\n\u003cp>Her skill in achieving that balance has been obvious enough, at least, to catch the attention of One Drop Scott, a veteran Bay Area producer who worked with Mac Dre; Scott produced \u003cem>Mental Cycles \u003c/em>as well.\u003cem> \u003c/em>Both he and San Francisco’s Pharoahgahmoe handled production on both of Sharrief’s upcoming projects.\u003c/p>\n\u003cp>Sharrief is originally from Sacramento, and while the rest of her family is Christian, her parents both converted to Islam independently before they met.\u003c/p>\n\u003cp>“I grew up in a religious household, but I also grew up in a black household,” said Sharrief. “We were Muslim and we went to the Mosque, we celebrated Eid, we celebrated our traditions, we prayed. But we also deal with the racism in our communities.”\u003c/p>\n\u003cp>As an adolescent, Sharrief wanted to be a soul singer but switched to rapping full time after an accident damaged her vocal chords. After relocating to the Bay Area nearly 10 years ago to attend community college, she transferred to California State University, East Bay to study media and broadcasting, and introduce herself to the local music scene. That process was not without its growing pains.\u003c/p>\n\u003cp>“It took me some time to find the middle mark and say, ‘Okay, I’m Muslim and I’m black. I can do this both,’” she said. “And I think it happened after my first album for sure.”\u003c/p>\n\u003cp>Sharrief’s music has grown increasingly, overtly political as she’s become more involved with activism in recent years. In a remix of Beyoncé’s “Formation” called “Information,” she uses a sample of Malcolm X’s speech from the 1964 March on Washington as a hook — over which she raps lines like \u003ci>I like my hijab on/I stay covered up ’cause I be headstrong,\u003c/i> interwoven with lyrics about police brutality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tiMcEssLjM\u003c/p>\n\u003cp>Unsurprisingly, she’s built a following in local conscious hip-hop circles, and has become a regular name at events that combine music and social justice work.\u003cspan class=\"x_gmail-s1\"> \u003c/span>\u003c/p>\n\u003cp>In October, she held it down as one of the only female performers at the Black Panther Party’s 50th anniversary rally and concert in Frank Ogawa Plaza, sharing the stage with local legends Mistah F.A.B., Dru Down, and Tajai of Hieroglyphics. Earlier this month at the Fox Theater, s\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/live-review-yasiin-bey-mos-def-belies-retirement-at-fox-theater/\" target=\"_blank\" rel=\"noopener\">he opened for rap legend Yasiin Bey (formerly known as Mos Def), who’s currently on his last tour before he retires from music\u003c/a>. The show went so well that Bey invited her to open for him again in Sacramento.\u003c/p>\n\u003cp>Sharrief’s music feels urgent — especially in light of the recent Trump victory, and the ensuing spike in hate crimes against people of color, particularly against Muslim women in religious dress. But the rapper says she’s not intimidated by the current political climate, in part because rapping offers her a platform to speak truth to power.\u003c/p>\n\u003cp>Indeed, one of the first things Sharrief did after Trump won the election was speak at a protest organized by the Black Power Network.\u003c/p>\n\u003cp>“For me, as a Muslim woman, I found that it was important for me to go to this protest and speak for Muslim women like, ‘We’re not scared of this,’” she says. “But it is hard when you have to go through this kind of racism. I know from experience. When 9/11 happened, I was at school and I got my hijab torn off.”\u003c/p>\n\u003cp>Despite the challenges the next four years promise, Sharrief said it’s important for marginalized people and allies to organize. “I feel like the best way to beat a bully is to stand up to a bully and show him you ain’t gon’ take it,” she says. “And right now, he’s all words. He ain’t got no action. And God willing, he won’t be able to do no action with the power of the people.\u003c/p>\n\u003cp>“Long story short, what’s up Trump? Whatchu got for us?”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alia Sharrief arrives for our interview wearing an oversized T-shirt that reads “Danger: Educated Black Woman” over her tunic. It’s paired with a flowing red and black hijab. Her grandmother, Margaret Block, was \u003ca href=\"http://sfbayview.com/2015/06/tribute-to-civil-rights-activist-margaret-block/\" target=\"_blank\" rel=\"noopener\">a well-known Black Panther\u003c/a>; after she passed away in 2015, Sharrief Googled her name and found photos of her grandmother wearing a T-shirt with the same slogan.\u003c/p>\n\u003cp>“She’s my whole inspiration for what I do,” says Sharrief, a rapper and activist based in Oakland. “She told me, when I was little, to pencil-whip ’em. I never got it ’til she explained to me: Instead of getting all stressed or depressed or irritated or angry, you need to use your pencil as a weapon and write the hardest thing you can write.”\u003c/p>\n\u003cp>That advice has certainly translated to Sharrief’s approach to her work, which deftly reflects her identity: she’s a rapper and a women’s rights activist; a black woman and a devout Muslim. It’s not unusual to find her speaking at a protest one day and shooting a music video in a lowrider the next. When she’s not in the studio or performing, she’s organizing youth workshops and running \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">The Hijabi Chronicles\u003c/a>, an online platform that celebrates the creativity of Muslim women.\u003c/p>\n\u003cp>At the moment, Sharrief is working on her upcoming album \u003cem>Back On My Deen\u003c/em>, a project with outspoken lyrics and funky, danceable beats with “Bay slap” in them, as she puts it. “Deen,” Sharrief explains, is a word from the Quran that refers to a righteous path. Sharrief wants to use the album to amplify her voice at a time when, she says, Muslim women rarely get a chance to tell their own stories in the media and pop culture.\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/l9NPtaViaLg'\n title='//www.youtube.com/embed/l9NPtaViaLg'\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>“With this specific project, it was just a way for me to speak up for not only myself, but for the millions of women and Muslim women who are seen as oppressed or seen as having a disadvantage because I have on a hijab, or that I have a disadvantage because my skin is dark,” she says coolly. “On this album, I embrace everything I am and everything that is rejected and marginalized in this industry.”\u003c/p>\n\u003cp>Sharrief is busy these days. Before she releases the album at the end of February, she’s dropping the EP \u003cem>Don’t Forget Me\u003c/em> in early January. In contrast to the full-length project, \u003cem>Don’t Forget Me\u003c/em> is light-hearted, with feel-good tracks more in the vein of her autobiographical 2012 debut, \u003cem>Mental Cycles & Mood Swings, \u003c/em>an album that grappled with self-discovery and coming of age.\u003c/p>\n\u003cp>“I’m not a preacher in my music,” she says of the contrast between the two records, adding that she admires how Tupac and Lauryn Hill balanced making catchy and meaningful work.\u003c/p>\n\u003cp>Her skill in achieving that balance has been obvious enough, at least, to catch the attention of One Drop Scott, a veteran Bay Area producer who worked with Mac Dre; Scott produced \u003cem>Mental Cycles \u003c/em>as well.\u003cem> \u003c/em>Both he and San Francisco’s Pharoahgahmoe handled production on both of Sharrief’s upcoming projects.\u003c/p>\n\u003cp>Sharrief is originally from Sacramento, and while the rest of her family is Christian, her parents both converted to Islam independently before they met.\u003c/p>\n\u003cp>“I grew up in a religious household, but I also grew up in a black household,” said Sharrief. “We were Muslim and we went to the Mosque, we celebrated Eid, we celebrated our traditions, we prayed. But we also deal with the racism in our communities.”\u003c/p>\n\u003cp>As an adolescent, Sharrief wanted to be a soul singer but switched to rapping full time after an accident damaged her vocal chords. After relocating to the Bay Area nearly 10 years ago to attend community college, she transferred to California State University, East Bay to study media and broadcasting, and introduce herself to the local music scene. That process was not without its growing pains.\u003c/p>\n\u003cp>“It took me some time to find the middle mark and say, ‘Okay, I’m Muslim and I’m black. I can do this both,’” she said. “And I think it happened after my first album for sure.”\u003c/p>\n\u003cp>Sharrief’s music has grown increasingly, overtly political as she’s become more involved with activism in recent years. In a remix of Beyoncé’s “Formation” called “Information,” she uses a sample of Malcolm X’s speech from the 1964 March on Washington as a hook — over which she raps lines like \u003ci>I like my hijab on/I stay covered up ’cause I be headstrong,\u003c/i> interwoven with lyrics about police brutality.\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/_tiMcEssLjM'\n title='//www.youtube.com/embed/_tiMcEssLjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unsurprisingly, she’s built a following in local conscious hip-hop circles, and has become a regular name at events that combine music and social justice work.\u003cspan class=\"x_gmail-s1\"> \u003c/span>\u003c/p>\n\u003cp>In October, she held it down as one of the only female performers at the Black Panther Party’s 50th anniversary rally and concert in Frank Ogawa Plaza, sharing the stage with local legends Mistah F.A.B., Dru Down, and Tajai of Hieroglyphics. Earlier this month at the Fox Theater, s\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/live-review-yasiin-bey-mos-def-belies-retirement-at-fox-theater/\" target=\"_blank\" rel=\"noopener\">he opened for rap legend Yasiin Bey (formerly known as Mos Def), who’s currently on his last tour before he retires from music\u003c/a>. The show went so well that Bey invited her to open for him again in Sacramento.\u003c/p>\n\u003cp>Sharrief’s music feels urgent — especially in light of the recent Trump victory, and the ensuing spike in hate crimes against people of color, particularly against Muslim women in religious dress. But the rapper says she’s not intimidated by the current political climate, in part because rapping offers her a platform to speak truth to power.\u003c/p>\n\u003cp>Indeed, one of the first things Sharrief did after Trump won the election was speak at a protest organized by the Black Power Network.\u003c/p>\n\u003cp>“For me, as a Muslim woman, I found that it was important for me to go to this protest and speak for Muslim women like, ‘We’re not scared of this,’” she says. “But it is hard when you have to go through this kind of racism. I know from experience. When 9/11 happened, I was at school and I got my hijab torn off.”\u003c/p>\n\u003cp>Despite the challenges the next four years promise, Sharrief said it’s important for marginalized people and allies to organize. “I feel like the best way to beat a bully is to stand up to a bully and show him you ain’t gon’ take it,” she says. “And right now, he’s all words. He ain’t got no action. And God willing, he won’t be able to do no action with the power of the people.\u003c/p>\n\u003cp>“Long story short, what’s up Trump? Whatchu got for us?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Many surreal things have been happening in this great land of ours since Donald Trump won the Presidency last month, but a shell-shocked-looking, possibly-still-mid-breakdown Kanye West \u003ca href=\"https://www.youtube.com/watch?v=Qcsf5OoI-B4\">dropping by Trump Tower\u003c/a> to \"take a picture right now\" is definitely on the list of things we didn't see coming.\u003c/p>\n\u003cp>It's impossible to know what this odd couple actually talked about, but if Trump is going to be inviting other members of the rap community over to discuss \"life,\" it would be even more fascinating if his next guest of honor was Azealia Banks.\u003c/p>\n\u003cp>Banks, like Yeezy, is a Trump supporter. Back in February, she tweeted: \"Okay, so I think I’m ready to admit that I’m going to vote for Donald Trump... I think Trump is the only one who truly has the balls to bust up big business.\"\u003c/p>\n\u003cp>True to form, Banks' endorsement didn't stay positive for long. She later tweeted: \"I only trust this country to what it is: full of s**t. takes s**t to know s**t so we may as well, put a piece of s**t in the White House.\" Later still: \"In conclusion I think Donald trump is evil like America is evil and in order for America to keep up with itself it needs him.\"\u003c/p>\n\u003cp>Truthfully, as unlikely as it seems, Trump and Banks do have far more in common with each other than Trump and Kanye do. Banks' career started with a MySpace profile; Trump's campaign relied heavily on his use of Twitter (and it looks like his Presidency will too).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the last month, there have been discussions in every corner of the media about whether Trump's shock election win was at least partially attributable to the inflated amount of press he received while on the campaign trail, largely on account of his habit of sending controversial Tweets out into the ether. The same argument could be made about the methods Azealia Banks uses to keep herself in the public eye. These two operate the same way: say something inflammatory online and wait for the media attention and popular discussion to commence.\u003c/p>\n\u003cp>We know virtually nothing about Trump's in-depth policy plans, but we remember a multitude of crazy things he has tweeted, word-for-word. Similarly, even if you can't name (m)any of Banks' songs, there's a high likelihood you still know at least some of the beefs she's started on social media. In the end, it is as impossible for us to ignore Banks when she spews \u003ca href=\"http://www.usmagazine.com/celebrity-news/news/azealia-banks-lashes-out-at-zayn-malik-in-twitter-rant-w206021\">racist slurs at Zayn Malik\u003c/a>, as it is to ignore Trump when he's referring to \u003ca href=\"https://www.youtube.com/watch?v=TML2cApMueU\">Mexicans as \"rapists.\"\u003c/a>\u003c/p>\n\u003cp>Theories abound that Trump tweets outrageous things to distract us from darker things that are going on in his campaign and cabinet. The \u003cem>\u003ca href=\"http://www.telegraph.co.uk/news/2016/11/29/donald-trumps-preposterous-tweets-distracting-us-enormous-conflicts/\">Telegraph\u003c/a> \u003c/em>went so far as to say: \"It is up to the media to attempt to hold the obstinate new president to account and trawl through his business dealings with meticulous detail. Instead, they are chasing their tails over provocative tweets about the number of illegal votes and Hamilton actors. Trump is a master of misdirection. We must not allow ourselves to be distracted.\"\u003c/p>\n\u003cp>In the same vein, Azealia Banks receives more critiques of her personality than her music. Attacking people on social media is a way of forcing us to think about her even when she's not promoting a record. She knows that we -- the music press, the gossip sites, music fans -- will talk about her if she behaves badly. We simply cannot help ourselves. Consider the fact that Banks didn't release an album in 2013, but she did receive a nomination for the \"Villain of the Year\" Award by Britain's well-respected\u003cem> NME\u003c/em> publication. Who won that same award in 2016? You've guessed it: Donald Trump.\u003c/p>\n\u003cp>Undoubtedly, these two are cut from the same cloth. Is it possible that they truly believe all of the things they say on social media? Sure. But there's also a strong likelihood that they do it simply because this method has been tried, tested and successful for them both, and they've noticed that their careers don't suffer, no matter what they say to keep the focus on them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, when self-created, self-promoted controversies are beneficial to someone's career, that person is not incentivized to be more respectful to others -- quite the opposite. Banks and Trump may never end up in the same room as each other, but if they did, there's a high likelihood that the meeting would be an explosive clash of egos, an absurd waste of time, and one of the most annoyingly entertaining distractions of the year. Not even Kanye could beat that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many surreal things have been happening in this great land of ours since Donald Trump won the Presidency last month, but a shell-shocked-looking, possibly-still-mid-breakdown Kanye West \u003ca href=\"https://www.youtube.com/watch?v=Qcsf5OoI-B4\">dropping by Trump Tower\u003c/a> to \"take a picture right now\" is definitely on the list of things we didn't see coming.\u003c/p>\n\u003cp>It's impossible to know what this odd couple actually talked about, but if Trump is going to be inviting other members of the rap community over to discuss \"life,\" it would be even more fascinating if his next guest of honor was Azealia Banks.\u003c/p>\n\u003cp>Banks, like Yeezy, is a Trump supporter. Back in February, she tweeted: \"Okay, so I think I’m ready to admit that I’m going to vote for Donald Trump... I think Trump is the only one who truly has the balls to bust up big business.\"\u003c/p>\n\u003cp>True to form, Banks' endorsement didn't stay positive for long. She later tweeted: \"I only trust this country to what it is: full of s**t. takes s**t to know s**t so we may as well, put a piece of s**t in the White House.\" Later still: \"In conclusion I think Donald trump is evil like America is evil and in order for America to keep up with itself it needs him.\"\u003c/p>\n\u003cp>Truthfully, as unlikely as it seems, Trump and Banks do have far more in common with each other than Trump and Kanye do. Banks' career started with a MySpace profile; Trump's campaign relied heavily on his use of Twitter (and it looks like his Presidency will too).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the last month, there have been discussions in every corner of the media about whether Trump's shock election win was at least partially attributable to the inflated amount of press he received while on the campaign trail, largely on account of his habit of sending controversial Tweets out into the ether. The same argument could be made about the methods Azealia Banks uses to keep herself in the public eye. These two operate the same way: say something inflammatory online and wait for the media attention and popular discussion to commence.\u003c/p>\n\u003cp>We know virtually nothing about Trump's in-depth policy plans, but we remember a multitude of crazy things he has tweeted, word-for-word. Similarly, even if you can't name (m)any of Banks' songs, there's a high likelihood you still know at least some of the beefs she's started on social media. In the end, it is as impossible for us to ignore Banks when she spews \u003ca href=\"http://www.usmagazine.com/celebrity-news/news/azealia-banks-lashes-out-at-zayn-malik-in-twitter-rant-w206021\">racist slurs at Zayn Malik\u003c/a>, as it is to ignore Trump when he's referring to \u003ca href=\"https://www.youtube.com/watch?v=TML2cApMueU\">Mexicans as \"rapists.\"\u003c/a>\u003c/p>\n\u003cp>Theories abound that Trump tweets outrageous things to distract us from darker things that are going on in his campaign and cabinet. The \u003cem>\u003ca href=\"http://www.telegraph.co.uk/news/2016/11/29/donald-trumps-preposterous-tweets-distracting-us-enormous-conflicts/\">Telegraph\u003c/a> \u003c/em>went so far as to say: \"It is up to the media to attempt to hold the obstinate new president to account and trawl through his business dealings with meticulous detail. Instead, they are chasing their tails over provocative tweets about the number of illegal votes and Hamilton actors. Trump is a master of misdirection. We must not allow ourselves to be distracted.\"\u003c/p>\n\u003cp>In the same vein, Azealia Banks receives more critiques of her personality than her music. Attacking people on social media is a way of forcing us to think about her even when she's not promoting a record. She knows that we -- the music press, the gossip sites, music fans -- will talk about her if she behaves badly. We simply cannot help ourselves. Consider the fact that Banks didn't release an album in 2013, but she did receive a nomination for the \"Villain of the Year\" Award by Britain's well-respected\u003cem> NME\u003c/em> publication. Who won that same award in 2016? You've guessed it: Donald Trump.\u003c/p>\n\u003cp>Undoubtedly, these two are cut from the same cloth. Is it possible that they truly believe all of the things they say on social media? Sure. But there's also a strong likelihood that they do it simply because this method has been tried, tested and successful for them both, and they've noticed that their careers don't suffer, no matter what they say to keep the focus on them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, when self-created, self-promoted controversies are beneficial to someone's career, that person is not incentivized to be more respectful to others -- quite the opposite. Banks and Trump may never end up in the same room as each other, but if they did, there's a high likelihood that the meeting would be an explosive clash of egos, an absurd waste of time, and one of the most annoyingly entertaining distractions of the year. Not even Kanye could beat that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British pop singer George Michael, who achieved fame as half of the duo Wham! before a breakout solo career, has died, his publicist tells NPR. He was 53.\u003c/p>\n\u003cp>Michael had struggled with depression and faced both drug and health problems, reports NPR’s Frank Langfitt, and he postponed a series of concerts in 2011 after being hospitalized for pneumonia.\u003c/p>\n\u003cp>The BBC reports \u003ca href=\"http://www.bbc.com/news/uk-38432862\" target=\"_blank\" rel=\"noopener\">that police don’t consider the death suspicious\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>“Michael, who was born Georgios Kyriacos Panayiotou in north London, sold more than 100m albums throughout a career spanning almost four decades.”\u003c/p>\u003c/blockquote>\n\u003cp>Michael’s hits with Wham! included “Wake Me Up Before You Go-Go,” as well as seasonal staple “Last Christmas.” His solo hits included “Faith” and “Freedom ’90,” both of which also gained recognition for their racy videos. He won two Grammy awards, including a best album award for 1989’s \u003cem>Faith\u003c/em>.\u003c/p>\n\u003cp>At the time of his biggest hits, The Associated Press notes, Michael had not disclosed his homosexuality:\u003c/p>\n\u003cblockquote>\u003cp>“Much of his chart success was based on his sex appeal to young women. His look was raw and provocative, with tight jeans, tight T-shirts, black leather jackets and designer stubble, and his videos pushed the accepted limits with many lingerie-clad models vying for Michael’s attentions on screen.\u003c/p>\n\u003cp>“But Michael’s situation changed abruptly in 1998 when he was arrested for lewd conduct in a public toilet in Los Angeles after being spotted by a male undercover police officer.”\u003c/p>\u003c/blockquote>\n\u003cp>Michael’s career and popularity as a live performer \u003ca href=\"http://bigstory.ap.org/article/36c5766cd41c4313bd2b3cb0215188a1/publicist-british-singer-george-michael-dead-age-53\" target=\"_blank\" rel=\"noopener\">remained strong afterward\u003c/a>\u003ca href=\"http://bigstory.ap.org/article/36c5766cd41c4313bd2b3cb0215188a1/publicist-british-singer-george-michael-dead-age-53\" target=\"_blank\" rel=\"noopener\">, if no longer chart-topping\u003c/a>, the AP reports, “despite a growing number of run-ins with police, many of them stemming from a series of driving-under-the-influence-of-drugs incidents.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=George+Michael%2C+Singer+Of+%27Freedom+%2790%2C%27+%27Faith%2C%27+%27Last+Christmas%2C%27+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British pop singer George Michael, who achieved fame as half of the duo Wham! before a breakout solo career, has died, his publicist tells NPR. He was 53.\u003c/p>\n\u003cp>Michael had struggled with depression and faced both drug and health problems, reports NPR’s Frank Langfitt, and he postponed a series of concerts in 2011 after being hospitalized for pneumonia.\u003c/p>\n\u003cp>The BBC reports \u003ca href=\"http://www.bbc.com/news/uk-38432862\" target=\"_blank\" rel=\"noopener\">that police don’t consider the death suspicious\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>“Michael, who was born Georgios Kyriacos Panayiotou in north London, sold more than 100m albums throughout a career spanning almost four decades.”\u003c/p>\u003c/blockquote>\n\u003cp>Michael’s hits with Wham! included “Wake Me Up Before You Go-Go,” as well as seasonal staple “Last Christmas.” His solo hits included “Faith” and “Freedom ’90,” both of which also gained recognition for their racy videos. He won two Grammy awards, including a best album award for 1989’s \u003cem>Faith\u003c/em>.\u003c/p>\n\u003cp>At the time of his biggest hits, The Associated Press notes, Michael had not disclosed his homosexuality:\u003c/p>\n\u003cblockquote>\u003cp>“Much of his chart success was based on his sex appeal to young women. His look was raw and provocative, with tight jeans, tight T-shirts, black leather jackets and designer stubble, and his videos pushed the accepted limits with many lingerie-clad models vying for Michael’s attentions on screen.\u003c/p>\n\u003cp>“But Michael’s situation changed abruptly in 1998 when he was arrested for lewd conduct in a public toilet in Los Angeles after being spotted by a male undercover police officer.”\u003c/p>\u003c/blockquote>\n\u003cp>Michael’s career and popularity as a live performer \u003ca href=\"http://bigstory.ap.org/article/36c5766cd41c4313bd2b3cb0215188a1/publicist-british-singer-george-michael-dead-age-53\" target=\"_blank\" rel=\"noopener\">remained strong afterward\u003c/a>\u003ca href=\"http://bigstory.ap.org/article/36c5766cd41c4313bd2b3cb0215188a1/publicist-british-singer-george-michael-dead-age-53\" target=\"_blank\" rel=\"noopener\">, if no longer chart-topping\u003c/a>, the AP reports, “despite a growing number of run-ins with police, many of them stemming from a series of driving-under-the-influence-of-drugs incidents.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=George+Michael%2C+Singer+Of+%27Freedom+%2790%2C%27+%27Faith%2C%27+%27Last+Christmas%2C%27+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 10 Best Bay Area Albums of 2016: Con Brio, 'Paradise'",
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"content": "\u003cp>Here is something you may already know: Con Brio is a phenomenal live band. That’s especially true in 2016, when they’ve poured pure Pennzoil in their already well-oiled machine by touring around the world, but the essential magic was always there: frontman Ziek McCarter’s nonstop James Brown-by-way-of Michael Jackson moves, the rhythm section’s lock-in-step churn, horn and guitar solos that reach for the fire extinguisher before they begin, and the band’s long dynamic crescendos, building to blissful, explosive release. Most Broadway musicals have one or two numbers that people call “showstoppers”; Con Brio’s set packs in about 11 of them.\u003c/p>\n\u003cp>So when you have a band this goddamn good on stage, the album can be an afterthought. And there’s few things more disappointing than a band that tears the roof off the sucker in a club but who releases a passionless recorded facsimile as a memento. I’m not gonna name names, but it’s happened to you, too, I’m sure — after an unforgettable night, they leave their number on a scrap piece of paper by the door instead of sending a four-page love letter in the mail.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27sSxCLLM48\u003c/p>\n\u003cp>\u003cem>Paradise\u003c/em> is Con Brio’s four-page love letter. Expertly produced by Mario Caldato, Jr. (Beastie Boys, Beck, Manu Chao), the album sounds sonically large, rather than a cheap CD-R with a Xerox stuffed inside. It also crackles with soul, be it upbeat (“Liftoff”), anguished (“Hard Times”) or seductive (“Honey”), and for longtime Bay Area music fans, comparisons to early Tower of Power aren’t far off.\u003c/p>\n\u003cp>But this is also a crucial time in America, when fear and anxiety are now literally the law of the land. McCarter combats it directly in the organ-heavy “Free & Brave,” a four-on-the-floor stomper that opens with Trayvon Martin and Martin Luther King, Jr. before earnestly addressing whitewashed history, unemployment and poverty. On “Money,” the struggle turns to work versus freedom: “For the green, givin up on your dream, say: no no no! / You’re getting paid, but your souls a slave, say: no no nooo!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is no solitary journey. To paraphrase McCarter, he’s not quite sure how long the fight is, but he knows he can’t do it alone. He’s got an incendiary band. He’s got crowds around the globe. And throughout \u003cem>Paradise\u003c/em>, he seduces from every angle, angling for more recruits on a sweat-drenched mission of love and unity. That’s about all you can ask of an album.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://www.youtube.com/watch?v=sXvq8FBsDhQ\" target=\"_blank\" rel=\"noopener\">Watch Con Brio perform “Living for the City” on the Golden Gate Bridge while KQED Arts’ cameras roll here.\u003c/a>]\u003c/strong>\u003c/em>\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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex/\" target=\"_blank\" rel=\"noopener\">\u003cem>David Last and Cherushii, ‘Plasma Plex’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"excerpt": "The soul-funk seven-piece has earned a reputation for phenomenal live shows -- but on this sonically huge, social commentary-laced LP, McCarter & Co. pull out all the stops in the studio too. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here is something you may already know: Con Brio is a phenomenal live band. That’s especially true in 2016, when they’ve poured pure Pennzoil in their already well-oiled machine by touring around the world, but the essential magic was always there: frontman Ziek McCarter’s nonstop James Brown-by-way-of Michael Jackson moves, the rhythm section’s lock-in-step churn, horn and guitar solos that reach for the fire extinguisher before they begin, and the band’s long dynamic crescendos, building to blissful, explosive release. Most Broadway musicals have one or two numbers that people call “showstoppers”; Con Brio’s set packs in about 11 of them.\u003c/p>\n\u003cp>So when you have a band this goddamn good on stage, the album can be an afterthought. And there’s few things more disappointing than a band that tears the roof off the sucker in a club but who releases a passionless recorded facsimile as a memento. I’m not gonna name names, but it’s happened to you, too, I’m sure — after an unforgettable night, they leave their number on a scrap piece of paper by the door instead of sending a four-page love letter in the mail.\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/27sSxCLLM48'\n title='//www.youtube.com/embed/27sSxCLLM48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Paradise\u003c/em> is Con Brio’s four-page love letter. Expertly produced by Mario Caldato, Jr. (Beastie Boys, Beck, Manu Chao), the album sounds sonically large, rather than a cheap CD-R with a Xerox stuffed inside. It also crackles with soul, be it upbeat (“Liftoff”), anguished (“Hard Times”) or seductive (“Honey”), and for longtime Bay Area music fans, comparisons to early Tower of Power aren’t far off.\u003c/p>\n\u003cp>But this is also a crucial time in America, when fear and anxiety are now literally the law of the land. McCarter combats it directly in the organ-heavy “Free & Brave,” a four-on-the-floor stomper that opens with Trayvon Martin and Martin Luther King, Jr. before earnestly addressing whitewashed history, unemployment and poverty. On “Money,” the struggle turns to work versus freedom: “For the green, givin up on your dream, say: no no no! / You’re getting paid, but your souls a slave, say: no no nooo!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is no solitary journey. To paraphrase McCarter, he’s not quite sure how long the fight is, but he knows he can’t do it alone. He’s got an incendiary band. He’s got crowds around the globe. And throughout \u003cem>Paradise\u003c/em>, he seduces from every angle, angling for more recruits on a sweat-drenched mission of love and unity. That’s about all you can ask of an album.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://www.youtube.com/watch?v=sXvq8FBsDhQ\" target=\"_blank\" rel=\"noopener\">Watch Con Brio perform “Living for the City” on the Golden Gate Bridge while KQED Arts’ cameras roll here.\u003c/a>]\u003c/strong>\u003c/em>\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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/22/the-10-best-bay-area-albums-of-2016-david-last-and-cherushii-plasma-plex/\" target=\"_blank\" rel=\"noopener\">\u003cem>David Last and Cherushii, ‘Plasma Plex’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths",
"title": "Cy and David's Picks: A Master of Funk, a Hard-Rocking Trio, and a Choir for All Faiths",
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"content": "\u003cp>It’s a holiday pileup this week. The solstice was Dec. 21, Hannukah starts Dec. 24 at sundown, just in time for Christmas Eve, and Kwanzaa starts Monday, Dec. 26. So happy holidays!\u003c/p>\n\u003cp>But don’t hibernate with your new toys, because we’re previewing some great shows. By the way, I’m in awe of every play now in rotation at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a> in Berkeley: \u003cem>Hamlet\u003c/em>, \u003cem>Village Bike\u003c/em>, \u003cem>Grand Concourse\u003c/em>, \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, and \u003cem>Caught\u003c/em> are all terrific, with a repertory company of just 12 actors doing all the shows through Jan. 22.\u003c/p>\n\u003cp>Now here’s the official list.\u003c/p>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161223.mp3\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UPFEdYX9boU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 24\u003c/strong>: The \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> proves that diversity is strength. The choir has brought the ecstatic joy of Black church music to audiences for more than 30 years under the leadership of Terrance Kelly. He said a recent poll revealed that members adhere to 13 faiths, including Judaism, Bahá’í, Buddhism, and baseball. The choir has been doing this Christmas Eve show at Slim’s for about 25 years. and Kelly says there’s nothing wrong with taking gospel into a rock club.\u003c/p>\n\u003cp>“You’re supposed to take the gospel outside of the church,” he told me, “that’s what’s wrong with a lot of churches now is that it remains inside the church. If somebody can get blessed with a cocktail in their hands, they still got blessed. Right?” The Slim’s shows are all ages and just $15, so bring the family for this \u003cstrong>CHEAP THRILL\u003c/strong>! Details \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iV-751Nu2TA\u003c/p>\n\u003cp>\u003cstrong>Dec. 23-25\u003c/strong>: \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">Kung Pao Kosher Comedy\u003c/a> is another fine Bay Area tradition working to bring all faiths together, this time in the name of Jewish comedy. San Francisco comedian \u003ca href=\"http://www.sfpublicist.com/SFPublicist/About_Us___Contact_Us.html\" target=\"_blank\" rel=\"noopener\">Lisa Geduldig\u003c/a> has been producing these shows for 24 years in a Chinese restaurant, a setting familiar to any Jew wondering where to eat out on Christmas Eve and Christmas day (Chinese restaurants were often the only places open). Geduldig’s headliner this year is \u003ca href=\"http://www.elayneboosler.com/\" target=\"_blank\" rel=\"noopener\">Elayne Boosler\u003c/a>, the star of five Showtime standup specials, and she was a regular on Bill Maher’s \u003ca href=\"https://en.wikipedia.org/wiki/Politically_Incorrect\" target=\"_blank\" rel=\"noopener\">\u003cem>Politically Incorrect\u003c/em>\u003c/a>, so you might expect a few (or a lot of ) jokes at President Elect Donald Trump’s expense. The show will also feature \u003ca href=\"https://www.youtube.com/watch?v=Rr3MYu1PXqc\" target=\"_blank\" rel=\"noopener\">Eddie Sarfaty\u003c/a> and \u003ca href=\"http://www.alexedelmancomedy.com/\" target=\"_blank\" rel=\"noopener\">Alex Edelman\u003c/a> (who is very, very funny). Details for the shows at San Francisco’s New Asia Restaurant are \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>Dec. 23\u003c/strong>: \u003ca href=\"https://www.facebook.com/adamtheismusic/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> can wake surf and play trombone at the same time. (Really. See him do it \u003ca href=\"https://www.youtube.com/watch?v=sL1H-BwT65I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) So it’s no surprise that he’s a multi-tasker when it comes to leading bands too, heading the big-band Jazz Mafia and the smaller Mobtet, plus the Cosa Nostra Strings. Friday night he’s leading the string band into Point Richmond Jazz, with the terrific Shaina Evoniuk on violin, Keith Lawrence on viola, Lewis Pazner on cello. and Aaron Kierbel on cajon/percussion. It won’t be like anything else you’ve heard this year, and that’s a good thing. Details for their Point Richmond Jazz show at the First United Methodist Church are \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsRmL9mgxCU\u003c/p>\n\u003cp>\u003cstrong>Dec. 29-Jan. 1\u003c/strong>: Saxophonist \u003ca href=\"http://maceoparker.com/\" target=\"_blank\" rel=\"noopener\">Maceo Parker\u003c/a> helped define the meaning of funk while a sideman to James Brown. As a bandleader since the early 1990’s, he’s become a Bay Area regular, swinging in to host New Year’s parties first at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>and now at SFJAZZ. Parker’s music is jazz as the best kind of party music, and this year he’s featuring the terrific vocalist Judith Hill, who recorded with Prince and did the soundtrack for \u003ca href=\"http://www.imdb.com/title/tt1989593/\" target=\"_blank\" rel=\"noopener\">Spike Lee’s \u003c/a>\u003cem>Red Hook Summer. \u003c/em>Parker does four nights at SF JAZZ and details are \u003ca href=\"https://sfjazz.org/events/2016-17/1231/maceo-parker\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6r1-HTiwGiY\u003c/p>\n\u003cp>\u003cstrong>Dec. 31\u003c/strong>: \u003ca href=\"http://www.sleater-kinney.com/\" target=\"_blank\" rel=\"noopener\">Sleater Kinney\u003c/a> is back in the in the Bay Area on a comeback tour that proves they still rock as hard (or harder) than any other band. Corin Tucker and Carrie Brownstein (\u003ca href=\"http://www.ifc.com/shows/portlandia\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia\u003c/em>\u003c/a>) sing and play guitars, Janet Weiss (Quasi) pounds the drums, and you won’t find a better show for New Year’s Eve. But for gosh sake, don’t drive, take a cable car or a cab to their show at the \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">Masonic\u003c/a>. Details are \u003ca href=\"http://sfmasonic.com/event/sleater-kinney-3/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a holiday pileup this week. The solstice was Dec. 21, Hannukah starts Dec. 24 at sundown, just in time for Christmas Eve, and Kwanzaa starts Monday, Dec. 26. So happy holidays!\u003c/p>\n\u003cp>But don’t hibernate with your new toys, because we’re previewing some great shows. By the way, I’m in awe of every play now in rotation at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a> in Berkeley: \u003cem>Hamlet\u003c/em>, \u003cem>Village Bike\u003c/em>, \u003cem>Grand Concourse\u003c/em>, \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, and \u003cem>Caught\u003c/em> are all terrific, with a repertory company of just 12 actors doing all the shows through Jan. 22.\u003c/p>\n\u003cp>Now here’s the official list.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 24\u003c/strong>: The \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> proves that diversity is strength. The choir has brought the ecstatic joy of Black church music to audiences for more than 30 years under the leadership of Terrance Kelly. He said a recent poll revealed that members adhere to 13 faiths, including Judaism, Bahá’í, Buddhism, and baseball. The choir has been doing this Christmas Eve show at Slim’s for about 25 years. and Kelly says there’s nothing wrong with taking gospel into a rock club.\u003c/p>\n\u003cp>“You’re supposed to take the gospel outside of the church,” he told me, “that’s what’s wrong with a lot of churches now is that it remains inside the church. If somebody can get blessed with a cocktail in their hands, they still got blessed. Right?” The Slim’s shows are all ages and just $15, so bring the family for this \u003cstrong>CHEAP THRILL\u003c/strong>! Details \u003ca href=\"http://www.slimspresents.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/iV-751Nu2TA'\n title='//www.youtube.com/embed/iV-751Nu2TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 23-25\u003c/strong>: \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">Kung Pao Kosher Comedy\u003c/a> is another fine Bay Area tradition working to bring all faiths together, this time in the name of Jewish comedy. San Francisco comedian \u003ca href=\"http://www.sfpublicist.com/SFPublicist/About_Us___Contact_Us.html\" target=\"_blank\" rel=\"noopener\">Lisa Geduldig\u003c/a> has been producing these shows for 24 years in a Chinese restaurant, a setting familiar to any Jew wondering where to eat out on Christmas Eve and Christmas day (Chinese restaurants were often the only places open). Geduldig’s headliner this year is \u003ca href=\"http://www.elayneboosler.com/\" target=\"_blank\" rel=\"noopener\">Elayne Boosler\u003c/a>, the star of five Showtime standup specials, and she was a regular on Bill Maher’s \u003ca href=\"https://en.wikipedia.org/wiki/Politically_Incorrect\" target=\"_blank\" rel=\"noopener\">\u003cem>Politically Incorrect\u003c/em>\u003c/a>, so you might expect a few (or a lot of ) jokes at President Elect Donald Trump’s expense. The show will also feature \u003ca href=\"https://www.youtube.com/watch?v=Rr3MYu1PXqc\" target=\"_blank\" rel=\"noopener\">Eddie Sarfaty\u003c/a> and \u003ca href=\"http://www.alexedelmancomedy.com/\" target=\"_blank\" rel=\"noopener\">Alex Edelman\u003c/a> (who is very, very funny). Details for the shows at San Francisco’s New Asia Restaurant are \u003ca href=\"http://www.koshercomedy.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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 23\u003c/strong>: \u003ca href=\"https://www.facebook.com/adamtheismusic/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> can wake surf and play trombone at the same time. (Really. See him do it \u003ca href=\"https://www.youtube.com/watch?v=sL1H-BwT65I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) So it’s no surprise that he’s a multi-tasker when it comes to leading bands too, heading the big-band Jazz Mafia and the smaller Mobtet, plus the Cosa Nostra Strings. Friday night he’s leading the string band into Point Richmond Jazz, with the terrific Shaina Evoniuk on violin, Keith Lawrence on viola, Lewis Pazner on cello. and Aaron Kierbel on cajon/percussion. It won’t be like anything else you’ve heard this year, and that’s a good thing. Details for their Point Richmond Jazz show at the First United Methodist Church are \u003ca href=\"http://www.prjazz.org/\" 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/dsRmL9mgxCU'\n title='//www.youtube.com/embed/dsRmL9mgxCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 29-Jan. 1\u003c/strong>: Saxophonist \u003ca href=\"http://maceoparker.com/\" target=\"_blank\" rel=\"noopener\">Maceo Parker\u003c/a> helped define the meaning of funk while a sideman to James Brown. As a bandleader since the early 1990’s, he’s become a Bay Area regular, swinging in to host New Year’s parties first at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>and now at SFJAZZ. Parker’s music is jazz as the best kind of party music, and this year he’s featuring the terrific vocalist Judith Hill, who recorded with Prince and did the soundtrack for \u003ca href=\"http://www.imdb.com/title/tt1989593/\" target=\"_blank\" rel=\"noopener\">Spike Lee’s \u003c/a>\u003cem>Red Hook Summer. \u003c/em>Parker does four nights at SF JAZZ and details are \u003ca href=\"https://sfjazz.org/events/2016-17/1231/maceo-parker\" 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/6r1-HTiwGiY'\n title='//www.youtube.com/embed/6r1-HTiwGiY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31\u003c/strong>: \u003ca href=\"http://www.sleater-kinney.com/\" target=\"_blank\" rel=\"noopener\">Sleater Kinney\u003c/a> is back in the in the Bay Area on a comeback tour that proves they still rock as hard (or harder) than any other band. Corin Tucker and Carrie Brownstein (\u003ca href=\"http://www.ifc.com/shows/portlandia\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia\u003c/em>\u003c/a>) sing and play guitars, Janet Weiss (Quasi) pounds the drums, and you won’t find a better show for New Year’s Eve. But for gosh sake, don’t drive, take a cable car or a cab to their show at the \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">Masonic\u003c/a>. Details are \u003ca href=\"http://sfmasonic.com/event/sleater-kinney-3/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The party is over at Purple 33.\u003c/p>\n\u003cp>About a week after 36 people died in a fire at an underground music party in Oakland, inspectors acting on a complaint discovered a makeshift nightclub and unpermitted living quarters concealed in a warehouse near Los Angeles International Airport.\u003c/p>\n\u003cp>Authorities searching the drab, two-story building found an illegally constructed dance floor, paired with a bar and DJ booth. Haphazard wiring snaked through walls, and an outdoor staircase capped by a bamboo canopy was flagged as a fire threat.\u003c/p>\n\u003cp>The unlicensed club was shut down, and operator Donald Cassel, who also lives there, was ordered to clear out.\u003c/p>\n\u003cp>The closing of the space dubbed Purple 33 highlights growing friction between underground music venues that can be the only option for experimental or emerging performers and their fans, and authorities who see disasters-in-waiting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finding them is another matter, when clandestine events can be announced with a fleeting Facebook post or text message and, in many cases, vanish after the music stops.\u003c/p>\n\u003cp>“You have a situation where folks are coming together and they are not applying for special permits. They’re just posting fliers 24 hours in advance, and they’re bringing hundreds of people in for different functions,” Oakland Fire Chief Teresa Deloach Reed said at a news conference days after the Dec. 2 fire during an electronic music party at an illegally converted warehouse nicknamed “Ghost Ship.”\u003c/p>\n\u003cp>“We do not have the resources to track those types of functions,” she conceded.\u003c/p>\n\u003cp>After the blaze, officials in LA, Baltimore and other cities announced plans to aggressively pursue illegally converted warehouses and other jerry-rigged living spaces. The threat of a crackdown is unnerving musicians and artists who live in them, and routinely accept risks that can come with performing on unlicensed stages.\u003c/p>\n\u003cp>The Los Angeles case has similarities to Oakland, where a leased warehouse was converted into living space and an entertainment stage without proper permits or inspections.\u003c/p>\n\u003cp>“Lesser-known artists are happy to play nearly anywhere that will host them, because there are very few options,” said Amanda Brown, co-owner of the Los Angeles record label 100% Silk, which lost two of its artists in the Oakland fire.\u003c/p>\n\u003cp>“These events are way more about community and shared experience than they are making money,” she said in an email. “Most artists are very flexible and willing to deal with strange venues as long as there is a sound system and some enthusiasm for the music.”\u003c/p>\n\u003cp>It’s difficult to generalize about underground music and the places it’s played, which sometimes hide in plain sight. Purple 33 has a web page.\u003c/p>\n\u003cp>It’s like a jukebox, encompassing everything from punk to metal to electronic, a branch that itself is divided into dozens of splinters. Similarly, the events can range widely: a couple of dozen people in a garment factory, an after-hours gathering in a coffee shop, 150 electronic music fans in a clearing in a forest.\u003c/p>\n\u003cp>The scene is alternately inclusive, welcoming artists and fans of all demographics, and exclusive, since by definition it’s hard to find if you don’t know where to look. The list of Oakland victims speaks to the diversity it attracts: a teacher, a computer engineer, a filmmaker, musicians and artists, a lawyer.\u003c/p>\n\u003cp>Regulations vary, but generally a gathering of 100 people with live music on a stage would require one or more permits. Depending on its size, a fire marshal could make a spot check to ensure fire extinguishers are available and lighting is adequate, or officials might oversee the event.\u003c/p>\n\u003cp>In general, building inspectors in Los Angeles would reject applications for musical events in warehouses, since they are designed to hold goods, not parties.\u003c/p>\n\u003cp>A gritty location can be part of the allure, and Cassel and others see it as an escape from mainstream clubs that they see as unwelcoming, even hostile, to free spirits and nonconformists.\u003c/p>\n\u003cp>But a big part of it is economics. A maze of rules and the high costs that come with meeting them leave few alternatives for running events on a skimpy budget, they say.\u003c/p>\n\u003cp>“When you are charging five, six bucks and 50 people show up, it doesn’t work to have a permit,” said George Chen, who organized underground shows in the San Francisco Bay Area for over a decade.\u003c/p>\n\u003cp>Cassel acknowledges he ran Purple 33 without proper authorization, but says it’s not because he didn’t try.\u003c/p>\n\u003cp>The businessman-contractor-inventor who once sold skateboard parts claims he spent $70,000 on licensing and other fees to try to get the city to green-light his club, whose patrons he calls “a family.”\u003c/p>\n\u003cp>But neighbors who feared wild parties blocked the project. He went underground.\u003c/p>\n\u003cp>“I wanted to do everything legal. It takes a lot of money,” Cassel, 56, said in an interview.\u003c/p>\n\u003cp>“But the greatest issue isn’t the money. They don’t seem to want to guide you along. At the end of the day, they say no.”\u003c/p>\n\u003cp>Despite Fire Department concerns, Cassel says the site was safe, with multiple exits, fire extinguishers and an emergency plan that could get everyone out in two minutes.\u003c/p>\n\u003cp>Fans note that legal venues have risks, too, pointing to a Rhode Island nightclub fire in 2003 that killed 100.\u003c/p>\n\u003cp>Given the numerous underground shows around LA, there appear to be relatively few reported problems.\u003c/p>\n\u003cp>The Los Angeles Fire Department dispatched 102 inspectors to check reports of overcrowding or illegal gatherings in 2016, but they do not document how many were in unpermitted locations.\u003c/p>\n\u003cp>The LAFD said it had no records of injury or damage at underground events.\u003c/p>\n\u003cp>Cassel hopes to reclaim his warehouse space one day, and he’s partnering with underground organizers to change laws to make cities friendlier to what they do.\u003c/p>\n\u003cp>A crackdown will backfire, he predicted, and dangers could get worse.\u003c/p>\n\u003cp>“It’s just going to go deeper underground.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Associated Press writer Paul Elias in San Francisco contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finding them is another matter, when clandestine events can be announced with a fleeting Facebook post or text message and, in many cases, vanish after the music stops.\u003c/p>\n\u003cp>“You have a situation where folks are coming together and they are not applying for special permits. They’re just posting fliers 24 hours in advance, and they’re bringing hundreds of people in for different functions,” Oakland Fire Chief Teresa Deloach Reed said at a news conference days after the Dec. 2 fire during an electronic music party at an illegally converted warehouse nicknamed “Ghost Ship.”\u003c/p>\n\u003cp>“We do not have the resources to track those types of functions,” she conceded.\u003c/p>\n\u003cp>After the blaze, officials in LA, Baltimore and other cities announced plans to aggressively pursue illegally converted warehouses and other jerry-rigged living spaces. The threat of a crackdown is unnerving musicians and artists who live in them, and routinely accept risks that can come with performing on unlicensed stages.\u003c/p>\n\u003cp>The Los Angeles case has similarities to Oakland, where a leased warehouse was converted into living space and an entertainment stage without proper permits or inspections.\u003c/p>\n\u003cp>“Lesser-known artists are happy to play nearly anywhere that will host them, because there are very few options,” said Amanda Brown, co-owner of the Los Angeles record label 100% Silk, which lost two of its artists in the Oakland fire.\u003c/p>\n\u003cp>“These events are way more about community and shared experience than they are making money,” she said in an email. “Most artists are very flexible and willing to deal with strange venues as long as there is a sound system and some enthusiasm for the music.”\u003c/p>\n\u003cp>It’s difficult to generalize about underground music and the places it’s played, which sometimes hide in plain sight. Purple 33 has a web page.\u003c/p>\n\u003cp>It’s like a jukebox, encompassing everything from punk to metal to electronic, a branch that itself is divided into dozens of splinters. Similarly, the events can range widely: a couple of dozen people in a garment factory, an after-hours gathering in a coffee shop, 150 electronic music fans in a clearing in a forest.\u003c/p>\n\u003cp>The scene is alternately inclusive, welcoming artists and fans of all demographics, and exclusive, since by definition it’s hard to find if you don’t know where to look. The list of Oakland victims speaks to the diversity it attracts: a teacher, a computer engineer, a filmmaker, musicians and artists, a lawyer.\u003c/p>\n\u003cp>Regulations vary, but generally a gathering of 100 people with live music on a stage would require one or more permits. Depending on its size, a fire marshal could make a spot check to ensure fire extinguishers are available and lighting is adequate, or officials might oversee the event.\u003c/p>\n\u003cp>In general, building inspectors in Los Angeles would reject applications for musical events in warehouses, since they are designed to hold goods, not parties.\u003c/p>\n\u003cp>A gritty location can be part of the allure, and Cassel and others see it as an escape from mainstream clubs that they see as unwelcoming, even hostile, to free spirits and nonconformists.\u003c/p>\n\u003cp>But a big part of it is economics. A maze of rules and the high costs that come with meeting them leave few alternatives for running events on a skimpy budget, they say.\u003c/p>\n\u003cp>“When you are charging five, six bucks and 50 people show up, it doesn’t work to have a permit,” said George Chen, who organized underground shows in the San Francisco Bay Area for over a decade.\u003c/p>\n\u003cp>Cassel acknowledges he ran Purple 33 without proper authorization, but says it’s not because he didn’t try.\u003c/p>\n\u003cp>The businessman-contractor-inventor who once sold skateboard parts claims he spent $70,000 on licensing and other fees to try to get the city to green-light his club, whose patrons he calls “a family.”\u003c/p>\n\u003cp>But neighbors who feared wild parties blocked the project. He went underground.\u003c/p>\n\u003cp>“I wanted to do everything legal. It takes a lot of money,” Cassel, 56, said in an interview.\u003c/p>\n\u003cp>“But the greatest issue isn’t the money. They don’t seem to want to guide you along. At the end of the day, they say no.”\u003c/p>\n\u003cp>Despite Fire Department concerns, Cassel says the site was safe, with multiple exits, fire extinguishers and an emergency plan that could get everyone out in two minutes.\u003c/p>\n\u003cp>Fans note that legal venues have risks, too, pointing to a Rhode Island nightclub fire in 2003 that killed 100.\u003c/p>\n\u003cp>Given the numerous underground shows around LA, there appear to be relatively few reported problems.\u003c/p>\n\u003cp>The Los Angeles Fire Department dispatched 102 inspectors to check reports of overcrowding or illegal gatherings in 2016, but they do not document how many were in unpermitted locations.\u003c/p>\n\u003cp>The LAFD said it had no records of injury or damage at underground events.\u003c/p>\n\u003cp>Cassel hopes to reclaim his warehouse space one day, and he’s partnering with underground organizers to change laws to make cities friendlier to what they do.\u003c/p>\n\u003cp>A crackdown will backfire, he predicted, and dangers could get worse.\u003c/p>\n\u003cp>“It’s just going to go deeper underground.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Associated Press writer Paul Elias in San Francisco contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: David Last and Cherushii, 'Plasma Plex'",
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"content": "\u003cp>I remember vividly the first time I played a video game. I was young enough (4 or 5) to be so impressionable that “imprintable” seems more accurate, and I visited a friend’s house, where he revealed to me the wonder that was Super Mario Bros. on the Nintendo Entertainment System.\u003c/p>\n\u003cp>Instantly I was hooked, enthralled by the promise of a virtual world whose rules could be easily understood and manipulated for gain, where the myriad limitations of my physical body were meaningless.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12518133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\" alt=\"cs3146570-02a-big\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>Fast forward several decades and video games, once considered the exclusive domain of nerds and social outcasts (this author included humbly therein), have become a multi-billion dollar business whose philosophical trappings can be traced back from Neal Stephenson to William Gibson to the Italian Futurists. \u003cem>Meow Wolf’s Arcade Soundtracks: Wiggy’s Plasma Plex\u003c/em>, from San Francisco producers David Last and Chelsea Faith (aka Cherushii), is a musical love letter to (and from) virtual worlds — and one of 2016’s best records.\u003c/p>\n\u003cp>As its title suggests, \u003cem>Plasma Plex\u003c/em> is a soundtrack — to a video arcade inside Meow Wolf, a multi-disciplinary \u003ca href=\"https://meowwolf.com/\" target=\"_blank\" rel=\"noopener\">semi-permanent art installation\u003c/a> in Santa Fe, NM. (If that sounds confusing, it is, but no matter — this record stands perfectly well enough alone, intended functionality notwithstanding.) Spread across two discs, Plasma Plex is a kaleidoscopic listen, jumping from funky electro-pop to hard-driving techno to nostalgic moody grooves from one song to the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rw5uK_4rOEw&feature=youtu.be\u003c/p>\n\u003cp>In fact, it’s hard to imagine a better record to introduce someone to the wonders of electronic music: \u003cem>Plasma Plex\u003c/em> flows over with hyperreal sound design and production, but it’s anchored by brilliant songwriting and catchy pop hooks. This record may sound cybernetic, but it’s got real human heart.\u003c/p>\n\u003cp>It would be remiss to end without mentioning that Chelsea Faith (who appears here under a number of monikers — solo as Cherushii and Yvette Sheurich, and in collaboration with David Last as Pleasure Corporation, Tristan Zero, and Soft Crash Crew) was but \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">one of the many otherworldly talents lost to us in the Oakland fire on Dec. 2\u003c/a>. My selection of \u003cem>Plasma Plex\u003c/em> is not intended as an end-of-life tribute, but a simple recognition of her enormous, seemingly boundless talent. Her spirit lives on in her beautiful music, adding poignant overtones to what was already a remarkable listen.\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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"excerpt": "A soundtrack to a video game arcade inside an art installation might sound a bit inaccessible -- but this collaboration between gifted electronic musicians overflows with personality and heart.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember vividly the first time I played a video game. I was young enough (4 or 5) to be so impressionable that “imprintable” seems more accurate, and I visited a friend’s house, where he revealed to me the wonder that was Super Mario Bros. on the Nintendo Entertainment System.\u003c/p>\n\u003cp>Instantly I was hooked, enthralled by the promise of a virtual world whose rules could be easily understood and manipulated for gain, where the myriad limitations of my physical body were meaningless.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12518133\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg\" alt=\"cs3146570-02a-big\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/CS3146570-02A-BIG-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>Fast forward several decades and video games, once considered the exclusive domain of nerds and social outcasts (this author included humbly therein), have become a multi-billion dollar business whose philosophical trappings can be traced back from Neal Stephenson to William Gibson to the Italian Futurists. \u003cem>Meow Wolf’s Arcade Soundtracks: Wiggy’s Plasma Plex\u003c/em>, from San Francisco producers David Last and Chelsea Faith (aka Cherushii), is a musical love letter to (and from) virtual worlds — and one of 2016’s best records.\u003c/p>\n\u003cp>As its title suggests, \u003cem>Plasma Plex\u003c/em> is a soundtrack — to a video arcade inside Meow Wolf, a multi-disciplinary \u003ca href=\"https://meowwolf.com/\" target=\"_blank\" rel=\"noopener\">semi-permanent art installation\u003c/a> in Santa Fe, NM. (If that sounds confusing, it is, but no matter — this record stands perfectly well enough alone, intended functionality notwithstanding.) Spread across two discs, Plasma Plex is a kaleidoscopic listen, jumping from funky electro-pop to hard-driving techno to nostalgic moody grooves from one song to the next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rw5uK_4rOEw'\n title='//www.youtube.com/embed/rw5uK_4rOEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, it’s hard to imagine a better record to introduce someone to the wonders of electronic music: \u003cem>Plasma Plex\u003c/em> flows over with hyperreal sound design and production, but it’s anchored by brilliant songwriting and catchy pop hooks. This record may sound cybernetic, but it’s got real human heart.\u003c/p>\n\u003cp>It would be remiss to end without mentioning that Chelsea Faith (who appears here under a number of monikers — solo as Cherushii and Yvette Sheurich, and in collaboration with David Last as Pleasure Corporation, Tristan Zero, and Soft Crash Crew) was but \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">one of the many otherworldly talents lost to us in the Oakland fire on Dec. 2\u003c/a>. My selection of \u003cem>Plasma Plex\u003c/em> is not intended as an end-of-life tribute, but a simple recognition of her enormous, seemingly boundless talent. Her spirit lives on in her beautiful music, adding poignant overtones to what was already a remarkable listen.\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>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/the-10-best-bay-area-albums-of-2016-kamaiyah-a-good-night-in-the-ghetto/\" target=\"_blank\" rel=\"noopener\">\u003cem>Kamaiyah, ‘A Good Night in the Ghetto’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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}
