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"content": "\u003cp>At a recent concert inside Dolby Laboratories, a member of \u003ca href=\"https://theshes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The She’s\u003c/a> leans into the mic between songs and tells the audience, “I just started school and I’m going to major in math!”\u003c/p>\n\u003cp>It’s not your usual rock ‘n’ roll banter — but the crowd cheers.\u003c/p>\n\u003cp>There’s another anomaly at this show, though: all the bands and sound engineers are women, while the world of audio is a field dominated by men. Addressing and correcting that disparity is the work of Women’s Audio Mission (WAM), an organization dedicated to teaching audio engineering and technology to young women from low-income communities. Graduates of the program go on to work in WAM’s recording studio while others have found jobs at at Dolby, George Lucas Studios, Pixar, Electronic Arts, and NPR.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/310609047″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The WAM studio is the only professional recording studio in the country built and operated entirely by women. WAM’s founder and executive director, Terri Winston — who happily bobbed along to The She’s upbeat California surf rock at the Dolby show — was there when the band recorded their first album, the sole product of women from the writing to the final mix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Less than 5 percent of women are creating and shaping the sounds and media that make the constant soundtrack of our lives,” Winston says. “So the perspectives of women and girls are barely audible. They need to be amplified in order for our girls to thrive.”\u003c/p>\n\u003cp>I met Winston the following day at the WAM studio in San Francisco’s SoMa neighborhood. She helped me bring my bike into the garage and walked me through the soundproofed labyrinth of studios and classrooms. In a room where an audiobook was about to be recorded, a woman sat comfortably behind a mixing console with hundreds of knobs and levers. It resembled the control panel of a spaceship in a sci-fi movie.\u003c/p>\n\u003cp>Winston founded WAM over 13 years ago. While teaching in the Broadcasting Department at City College of San Francisco, she was disappointed by the lack of women in her class, so she founded an audio club for women.\u003c/p>\n\u003cfigure id=\"attachment_12273905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg\" alt=\"A WAM student runs live sound during a concert\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WAM engineer runs live sound during a concert. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year, Winston booked a booth for her club at a convention for the Audio Engineering Society, the largest professional association of audio engineers in the country. According to an AES representative \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">speaking to Huffington Post\u003c/a>, less than seven percent of AES members are women. Winston tells me that the conventions are overwhelmingly white and male. “They even dress the same,” she says.\u003c/p>\n\u003cp>At first she was met with suspicion — organizers thought she was planning to protest the convention. But her booth was a huge success. Winston received armfuls of donated equipment from manufacturers, so much that she had to find a shopping cart to wheel it all around.\u003c/p>\n\u003cp>“That’s how WAM started, in a shopping cart,” says Winston.\u003c/p>\n\u003cp>AES has given WAM a booth every year since.\u003c/p>\n\u003cfigure id=\"attachment_12273901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12273901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png\" alt=\"Terri Winston at the WAM studios.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1180x799.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-960x650.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-240x163.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-375x254.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-520x352.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257.png 1608w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terri Winston at the WAM studios. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City College, Terri’s classes reached parity with men and women attending. It didn’t go unnoticed. People began coming to Winston asking how she was able to get women interested. Instead of traveling to share her success, Winston decided to build a studio “to put all those best practices in one place” and created WAM.\u003c/p>\n\u003cp>These days, WAM trains 1,200 women every year. Of those, 850 are middle-school girls. Also, 93 percent of the girls are low-income, 83 percent are girls of color and 73 percent don’t have access to a computer.\u003c/p>\n\u003cp>Winston says she is targeting young women with some of highest dropout rates in the state of California. “We are serving the lowest-income students on purpose,” she said.\u003c/p>\n\u003cp>Winston says a lot of her students start out believing the nerdy male engineer stereotype. Her classes combat this by not giving anything a label while the girls are learning.\u003c/p>\n\u003cfigure id=\"attachment_12273900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273900 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg\" alt=\"Students try out vocal mics during a class at WAM\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-520x369.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students try out vocal mics during a class at WAM. \u003ccite>(Courtesy of WAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t push referring to this stuff as \u003ca href=\"https://en.wikipedia.org/wiki/Science,_technology,_engineering,_and_mathematics\" target=\"_blank\" rel=\"noopener\">STEM\u003c/a>. We know what we are doing on our end. Until those words get detached from certain stereotypes you’re not going to see girls doing it,” Winston says. “Ironically, after 18 weeks of training, they get to work on a project where they are assigned various music production roles. They usually fight over who gets to be the engineer.”\u003c/p>\n\u003cp>While WAM works to fix the pipeline of women studying audio engineering, many men skip the pipeline altogether. Audio engineering has a tradition of mentorship, and because most mentors are men, it becomes less likely for women to be brought into the fold.\u003c/p>\n\u003cp>Claire Boucher, also known as Grimes, \u003ca href=\"http://www.npr.org/2016/04/27/455769676/feeling-this-a-conversation-with-grimes\">spoke to NPR\u003c/a> about the gendered stereotypes in song production, with men producing beats and women singing melodies. “I wasn’t allowed to touch a computer, for example, even though guys in the studio were allowed to,” Boucher told NPR. “I obviously know how to use a computer and I know how to produce, but I had to tell the engineer what to do if I wanted to do anything, which I thought was pretty crazy in the 21st century.”\u003c/p>\n\u003cfigure id=\"attachment_12268804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg\" alt=\"Claire Boucher performs as Grimes\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Boucher performs as Grimes. \u003ccite>(peta_azak/flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came in with experience as a producer and I wasn’t allowed to produce — so how could any woman who didn’t have experience as a producer ever learn how to produce? It was just a little odd in that regard,” Boucher added. “If there are stereotypes of, ‘Women do certain jobs in music and men do certain jobs,’ the way the studio works, it’s not easy to escape that.”\u003c/p>\n\u003cp>“We have to be twice as good as our male counterparts to be considered on the same level,” says Julie Indelicato, a San Francisco-based sound engineer. “Some bands will even apologize to the audience for the fact that I’m a woman.”\u003c/p>\n\u003cp>Indelicato has worked the soundboard at live shows in the Bay Area for eight years. “I often have people coming up to me asking if I need help,” Indelicato says. “It happens every time. Even by laypeople. You wouldn’t ask a plumber if they need help fixing your toilet.”\u003c/p>\n\u003cp>She says it’s a common experience for bands to walk right past her in the sound booth and ask the nearest man where the sound engineer is. “These days I walk towards them before they can overlook the fact that I’m working there,” she adds.\u003c/p>\n\u003cp>“I’m an African American lesbian woman working as a sound engineer. This is a mostly white male industry,” Indelicato tells me. \u003c/p>\n\u003cfigure id=\"attachment_12268805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg\" alt=\"Julie Indelicato at work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Indelicato at work. \u003ccite>(Courtesy of Phoebe Lula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being dismissed, women work in a world rife with sexual innuendo and misogynistic comments. “It’s a bawdy environment. There are lots of sexual jokes and complaining about girlfriends and wives,” says Indelicato.\u003c/p>\n\u003cp>When I ask Indelicato why she thinks it’s like this, she tells me, “This is 1099 work. We are mostly independent contractors. The only person who will stand up for you is you. It’s so hard for women to speak up for themselves when they are already being questioned the moment they walk in the door.”\u003c/p>\n\u003cp>“The audio industry is kind of like the wild west,” Winston says. “You see that it’s really unregulated. You don’t have a human resources department. Nobody is talking about what are appropriate conversations. There is a lot of wild and crazy behavior in studio spaces.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But we are heading in the right direction. A lot of our male allies are coming forward and standing up,” Winston adds. “We are seeing more women in classes. It forces teachers to see their audience is half women and that they have to talk about about what is relevant to everyone. This applies to all kinds of diversity, not just gender issues.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a recent concert inside Dolby Laboratories, a member of \u003ca href=\"https://theshes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The She’s\u003c/a> leans into the mic between songs and tells the audience, “I just started school and I’m going to major in math!”\u003c/p>\n\u003cp>It’s not your usual rock ‘n’ roll banter — but the crowd cheers.\u003c/p>\n\u003cp>There’s another anomaly at this show, though: all the bands and sound engineers are women, while the world of audio is a field dominated by men. Addressing and correcting that disparity is the work of Women’s Audio Mission (WAM), an organization dedicated to teaching audio engineering and technology to young women from low-income communities. Graduates of the program go on to work in WAM’s recording studio while others have found jobs at at Dolby, George Lucas Studios, Pixar, Electronic Arts, and NPR.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/310609047″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/310609047″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The WAM studio is the only professional recording studio in the country built and operated entirely by women. WAM’s founder and executive director, Terri Winston — who happily bobbed along to The She’s upbeat California surf rock at the Dolby show — was there when the band recorded their first album, the sole product of women from the writing to the final mix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Less than 5 percent of women are creating and shaping the sounds and media that make the constant soundtrack of our lives,” Winston says. “So the perspectives of women and girls are barely audible. They need to be amplified in order for our girls to thrive.”\u003c/p>\n\u003cp>I met Winston the following day at the WAM studio in San Francisco’s SoMa neighborhood. She helped me bring my bike into the garage and walked me through the soundproofed labyrinth of studios and classrooms. In a room where an audiobook was about to be recorded, a woman sat comfortably behind a mixing console with hundreds of knobs and levers. It resembled the control panel of a spaceship in a sci-fi movie.\u003c/p>\n\u003cp>Winston founded WAM over 13 years ago. While teaching in the Broadcasting Department at City College of San Francisco, she was disappointed by the lack of women in her class, so she founded an audio club for women.\u003c/p>\n\u003cfigure id=\"attachment_12273905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg\" alt=\"A WAM student runs live sound during a concert\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/unnamed-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WAM engineer runs live sound during a concert. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year, Winston booked a booth for her club at a convention for the Audio Engineering Society, the largest professional association of audio engineers in the country. According to an AES representative \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">speaking to Huffington Post\u003c/a>, less than seven percent of AES members are women. Winston tells me that the conventions are overwhelmingly white and male. “They even dress the same,” she says.\u003c/p>\n\u003cp>At first she was met with suspicion — organizers thought she was planning to protest the convention. But her booth was a huge success. Winston received armfuls of donated equipment from manufacturers, so much that she had to find a shopping cart to wheel it all around.\u003c/p>\n\u003cp>“That’s how WAM started, in a shopping cart,” says Winston.\u003c/p>\n\u003cp>AES has given WAM a booth every year since.\u003c/p>\n\u003cfigure id=\"attachment_12273901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12273901\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png\" alt=\"Terri Winston at the WAM studios.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-768x520.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-1180x799.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-960x650.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-240x163.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-375x254.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257-520x352.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Screen-Shot-2016-10-29-at-2.29.35-PM-e1477777028257.png 1608w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terri Winston at the WAM studios. \u003ccite>(Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At City College, Terri’s classes reached parity with men and women attending. It didn’t go unnoticed. People began coming to Winston asking how she was able to get women interested. Instead of traveling to share her success, Winston decided to build a studio “to put all those best practices in one place” and created WAM.\u003c/p>\n\u003cp>These days, WAM trains 1,200 women every year. Of those, 850 are middle-school girls. Also, 93 percent of the girls are low-income, 83 percent are girls of color and 73 percent don’t have access to a computer.\u003c/p>\n\u003cp>Winston says she is targeting young women with some of highest dropout rates in the state of California. “We are serving the lowest-income students on purpose,” she said.\u003c/p>\n\u003cp>Winston says a lot of her students start out believing the nerdy male engineer stereotype. Her classes combat this by not giving anything a label while the girls are learning.\u003c/p>\n\u003cfigure id=\"attachment_12273900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12273900 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg\" alt=\"Students try out vocal mics during a class at WAM\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-1180x837.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-960x681.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic-520x369.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/OntheMic.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students try out vocal mics during a class at WAM. \u003ccite>(Courtesy of WAM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t push referring to this stuff as \u003ca href=\"https://en.wikipedia.org/wiki/Science,_technology,_engineering,_and_mathematics\" target=\"_blank\" rel=\"noopener\">STEM\u003c/a>. We know what we are doing on our end. Until those words get detached from certain stereotypes you’re not going to see girls doing it,” Winston says. “Ironically, after 18 weeks of training, they get to work on a project where they are assigned various music production roles. They usually fight over who gets to be the engineer.”\u003c/p>\n\u003cp>While WAM works to fix the pipeline of women studying audio engineering, many men skip the pipeline altogether. Audio engineering has a tradition of mentorship, and because most mentors are men, it becomes less likely for women to be brought into the fold.\u003c/p>\n\u003cp>Claire Boucher, also known as Grimes, \u003ca href=\"http://www.npr.org/2016/04/27/455769676/feeling-this-a-conversation-with-grimes\">spoke to NPR\u003c/a> about the gendered stereotypes in song production, with men producing beats and women singing melodies. “I wasn’t allowed to touch a computer, for example, even though guys in the studio were allowed to,” Boucher told NPR. “I obviously know how to use a computer and I know how to produce, but I had to tell the engineer what to do if I wanted to do anything, which I thought was pretty crazy in the 21st century.”\u003c/p>\n\u003cfigure id=\"attachment_12268804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg\" alt=\"Claire Boucher performs as Grimes\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/14787441490_63d5204040_k.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Boucher performs as Grimes. \u003ccite>(peta_azak/flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I came in with experience as a producer and I wasn’t allowed to produce — so how could any woman who didn’t have experience as a producer ever learn how to produce? It was just a little odd in that regard,” Boucher added. “If there are stereotypes of, ‘Women do certain jobs in music and men do certain jobs,’ the way the studio works, it’s not easy to escape that.”\u003c/p>\n\u003cp>“We have to be twice as good as our male counterparts to be considered on the same level,” says Julie Indelicato, a San Francisco-based sound engineer. “Some bands will even apologize to the audience for the fact that I’m a woman.”\u003c/p>\n\u003cp>Indelicato has worked the soundboard at live shows in the Bay Area for eight years. “I often have people coming up to me asking if I need help,” Indelicato says. “It happens every time. Even by laypeople. You wouldn’t ask a plumber if they need help fixing your toilet.”\u003c/p>\n\u003cp>She says it’s a common experience for bands to walk right past her in the sound booth and ask the nearest man where the sound engineer is. “These days I walk towards them before they can overlook the fact that I’m working there,” she adds.\u003c/p>\n\u003cp>“I’m an African American lesbian woman working as a sound engineer. This is a mostly white male industry,” Indelicato tells me. \u003c/p>\n\u003cfigure id=\"attachment_12268805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12268805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg\" alt=\"Julie Indelicato at work.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/image2-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Indelicato at work. \u003ccite>(Courtesy of Phoebe Lula)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On top of being dismissed, women work in a world rife with sexual innuendo and misogynistic comments. “It’s a bawdy environment. There are lots of sexual jokes and complaining about girlfriends and wives,” says Indelicato.\u003c/p>\n\u003cp>When I ask Indelicato why she thinks it’s like this, she tells me, “This is 1099 work. We are mostly independent contractors. The only person who will stand up for you is you. It’s so hard for women to speak up for themselves when they are already being questioned the moment they walk in the door.”\u003c/p>\n\u003cp>“The audio industry is kind of like the wild west,” Winston says. “You see that it’s really unregulated. You don’t have a human resources department. Nobody is talking about what are appropriate conversations. There is a lot of wild and crazy behavior in studio spaces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But we are heading in the right direction. A lot of our male allies are coming forward and standing up,” Winston adds. “We are seeing more women in classes. It forces teachers to see their audience is half women and that they have to talk about about what is relevant to everyone. This applies to all kinds of diversity, not just gender issues.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "running-the-record-plant-part-1-the-early-years",
"title": "Running the Record Plant, Part 1: The Early Years",
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"content": "\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BS-EUH9tp-s\u003c/p>\n\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.",
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"title": "Running the Record Plant, Part 1: The Early Years | KQED",
"description": "The first in a three-part series about the influential Record Plant recording studio in Sausalito, where Sly Stone, Stevie Wonder and others made some of their most celebrated albums.",
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"headline": "Running the Record Plant, Part 1: The Early Years",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hot tubs, water beds, sex, and drugs — all were staples of the Record Plant in Sausalito, home to some of the highest times of any Bay Area studio in the 1970s.\u003c/p>\n\u003cp>Yet there was no small amount of rock and roll too. The dozens of famous albums partially or fully recorded at the Plant in the ’70s include Sly Stone’s \u003cem>Fresh\u003c/em>, Stevie Wonder’s \u003cem>Songs in the Key of Life\u003c/em> and Prince’s debut album \u003cem>For You\u003c/em>. The Plant continued its reign as one of the top studios in the Bay Area into the early 21st century, through several ownership changes that, at one point, saw the federal government running the facility.\u003c/p>\n\u003cp>That wasn’t the sort of atmosphere its founders had in mind when the Record Plant opened in late 1972. After establishing himself as a top recording engineer with the likes of Jimi Hendrix and Frank Zappa, Gary Kellgren opened successful branches of the Plant in New York and Los Angeles with business partner Chris Stone before the two set their sights on Sausalito. As Raechel Donahue (who coordinated \u003ca href=\"https://www.youtube.com/watch?v=T5VI6w-NcO0\" target=\"_blank\" rel=\"noopener\">KSAN’s live-in-the-studio concerts\u003c/a> from the Plant) puts it, “They invented this idea of having a recording studio that gave everybody a comfortable place to be.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>“Basically, it was a party atmosphere to record in,” says Jim Gaines, who produced and engineered records by the likes of Santana, Journey and Huey Lewis at the Plant. “They built this studio up here to go for the Bay Area bands. But not only that, bring up people from L.A. that wanted to get out of L.A. They had a hot tub in it, they had a boat at one point in time [to] take people out. The house”— where members of bands like Fleetwood Mac would stay during their Plant sessions — “was part of the package deal. And Kellgren was a party kind of guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, when Gaines interviewed with Kellgren for a job at the Plant, “I’m shaking hands with this guy in this purple or blue Napoleon outfit. He’s got the hat on and everything. I’m thinking, ‘Do I want to work for this guy? Good lord.’ It was all about a big party for him, as well as working. He seemed to put those two together. That’s why the studio was built.”\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/BS-EUH9tp-s'\n title='//www.youtube.com/embed/BS-EUH9tp-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gaines turned down the job in favor of staying at Wally Heider’s studio in downtown San Francisco, adding that “when Heider found out that they were coming into Sausalito, he went out and found a building. He had plans to build a studio in Mill Valley to counteract ‘em.” Notes engineer and producer Stephen Barncard, who, like Gaines, also worked sessions at both Heider’s and the Plant, “Wally had plans for a studio in Mill Valley near Tam Junction. I actually saw the plans. He was gonna get [TV and film production company] Filmways to pay for it, and when the Record Plant went in, it was over. It never happened.”\u003c/p>\n\u003cp>As just one example of the detail lavished upon the facility, recalls Gaines, “the ceiling in Studio B looked like clouds. They were made out of cut-out plywood in different forms, and covered with velveteen or velvet or something like that; they looked like clouds hanging up there. Kellgren was smart; he wanted his rooms to look different. He knew he wanted to make it artsy.”\u003c/p>\n\u003cfigure id=\"attachment_12376694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg\" alt=\"Jim Gaines at the board during a recording session at the Record Plant in Sausalito\" width=\"800\" height=\"626\" class=\"size-medium wp-image-12376694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1020x798.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-960x752.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jim-Gaines-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Gaines at the board during a recording session at the Record Plant in the 1980s. \u003ccite>(Photo: Courtesy of Jim Gaines)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word about the Record Plant got out through its lavish opening party, as well as KSAN broadcasts of live-in-the-studio programs featuring such heavyweights as Bob Marley & the Wailers (part of whose October 1973 performance at the Plant was issued on the \u003cem>Talkin’ Blues\u003c/em> CD), Bonnie Raitt, Linda Ronstadt and Fleetwood Mac. \u003c/p>\n\u003cp>“At this time it wasn’t really common to do live broadcasts, especially from a recording studio,” explains Raechel Donahue. “When we were at KSAN, our version of a live broadcast was me and [DJ] Terry McGovern and a 100-foot microphone cord which I would feed out the window to him, so he could interview people on the street. It really was [KSAN manager] Tom [Donahue], Chris Stone, and Gary Kellgren who figured out, ‘Ah, there’s obviously a way to do this if we could only just figure this out.’”\u003c/p>\n\u003cp>KSAN kicked off its Record Plant broadcasts with a legendary 72-hour marathon. At one point during Kris Kristofferson’s performance, according to Raechel Donahue, “this wackadoodle guy came wandering through the studio singing ‘He’s a peach pit, he’s a pom pom, he’s a pervert, he’s a fool’” — bastardizing the lyric of one of Kristofferson’s most famous songs, “The Pilgrim, Chapter 33” — “and then just walked out the other door.” \u003c/p>\n\u003cfigure id=\"attachment_12376697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg\" alt=\"The Record Plant's control room, 1973\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12376697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-1180x697.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-960x567.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/STudio-pic-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Record Plant’s control room, circa 1973. \u003ccite>(Photo: Steve Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone who was anyone was there, and they wandered in and wandered out,” Donahue said. “All I had to do was figure how to coordinate that. But that’s kind of what KSAN was all about, figuring out how to make reality blend into music. It was a crazy thing to do, but it did start the whole Record Plant live thing.” \u003c/p>\n\u003cp>It wasn’t the only craziness at KSAN broadcasts; Bob Simmons, the announcer for some of them, recalls \u003cem>Last Tango in Paris\u003c/em> star Maria Schneider “wandering around trying to get someone to get in the hot tub with her” during one.\u003c/p>\n\u003cp>The Plant soon attracted not only stars from L.A. and out of state, but also quite a few from the Bay Area itself. The setting was as vital to its appeal as the studio itself. “Heider’s was downtown in the Tenderloin,” says Gaines. “That’s a whole different concept down there. I mean, just to park your car and get to the studio without being mugged is a feat. The Record Plant, you could just walk out, and you’re only like one door from the water. Then you got some public tennis courts down the streets. When I was working with KBC Band — Marty Balin and [Jack] Casady and Paul Kantner — Marty would go down there and play tennis while we weren’t working.”\u003c/p>\n\u003cfigure id=\"attachment_12376695\" class=\"wp-caption alignright\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg\" alt=\"Stephen Barncard during his days at the Record Plant\" width=\"700\" height=\"458\" class=\"size-full wp-image-12376695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Stephen-Barncard-520x340.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard during his days at the Record Plant. \u003ccite>(Photo: Courtesy of Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The studio’s most famous feature, however, was on the premises, and more notorious for its, shall we say, extracurricular activities. The sunken area known as the Pit was, in Barncard’s words, “partial boudoir and studio. It’s basically for a place to do track-by-track overdubs and vocals, and then make love to your girlfriend between, in breaks over in the side.” \u003c/p>\n\u003cp>“Sly Stone moved into that back room for a while,” reports Gaines. “They had a little bedroom for him. Just a bed, with little frilly stuff over it. He wanted all of the doorknobs moved up. It’s like he was a kid or something. The doorknob couldn’t be in a regular place, it had to be like a foot higher. I finally changed that. I said, ‘Man, I can’t deal with this.’ There’s a lot more [stories], but I don’t know if I could tell some of ‘em.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More stories about the Pit, the Plant, the Earthquake, and federal marshals taking over the studio are coming soon in Part Two.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 2016 American Music Awards featured a number of pop stars strumming their guitars, Drake making a rare awards show appearance, an emotional speech from Selena Gomez and political moments about President-elect Donald Trump.\u003c/p>\n\u003cp>Drake, who has skipped his fair share of awards shows in recent years, was the big winner with four awards and debuted a new commercial for Apple Music.\u003c/p>\n\u003cp>“For our genre, I just like to keep things excited and keep making music. Shout out to everybody that’s trying to do the same thing,” said Drake, who broke Michael Jackson’s record for most AMA nominations after scoring 13 nominations.\u003c/p>\n\u003cp>Bieber, who performed from his tour in Zurich, Switzerland, also won four awards.\u003c/p>\n\u003cp>Gomez, who lost artist of the year to Ariana Grande but won favorite female artist — pop/rock, gave a heartfelt speech onstage that earned a loud applause from the audience at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s safe to say that most of you know a lot of my life whether I liked it or not, and I had to stop, ’cause I had everything, and I was absolutely broken inside. And I kept it all together to where I never let you down. But I kept it too much together where I let myself down,” said 24-year-old Gomez, who recently took time off to treat depression and anxiety.\u003c/p>\n\u003cp>“I don’t want to see your bodies on Instagram. I want to see what’s in here,” she added, pointing to her heart. “And I have to say thank you so much to my fans because you guys are so damn loyal, and I don’t know what I did to deserve you. If you are broken, you don’t have to stay broken.”\u003c/p>\n\u003cp>Grande was shaking onstage as she collected artist of the year at the fan-voted show that aired live on ABC, beating Rihanna, Carrie Underwood and Bieber. “With or without this, I love you from the bottom of my heart,” she said to her fans.\u003c/p>\n\u003cp>Green Day was one of many big-named acts promoting new albums at the AMAs, including Bruno Mars, the Weeknd, Lady Gaga, Sting, John Legend and The Chainsmokers. But Green Day got political during their performance of “Bang Bang” as band leader Billie Joe Armstrong sang “No KKK, no fascist USA, no Trump” during the show.\u003c/p>\n\u003cp>The show’s hosts — former \u003cem>Saturday Night Live\u003c/em> comic Jay Pharaoh and model Gigi Hadid — also mentioned the Trump family when telling jokes: After Pharaoh impersonated Jay Z, Hadid acted like Melania Trump.\u003c/p>\n\u003cp>“I love my husband, President Barack Obama, and our children, Sasha and Malia,” she said, scrunching up her face.\u003c/p>\n\u003cp>Strumming guitars while singing was one of the night’s themes: One Direction’s Niall Horan slowed things down for his acoustic-folk solo single, “This Town”: James Bay sang his smoky single, “Let It Go”; and Shawn Mendes performed his hit “Treat You Better” and switched to piano for the aching “Mercy.”\u003c/p>\n\u003cp>But the best singer-guitarist was Gaga, who beautifully belted the lyrics to her latest single, “Million Reasons.” She earned a rousing applause from the audience.\u003c/p>\n\u003cp>Sting also impressed, with his performances of “Message In a Bottle,” “Every Breathe You Take” and his new single, “I Can’t Stop Thinking About You.” He received the American Music Award of Merit, which was presented to him by Robert Downey Jr.\u003c/p>\n\u003cp>“American music lit the musical spark in my young mind,” the English singer said after his performance. “My musical soul is all American!”\u003c/p>\n\u003cp>Other highlights included double winners twenty one pilots and Mars, who kicked off the AMAs with his groovy hit, “24K Magic,” backed by his band who matched his slick, upbeat dance moves.\u003c/p>\n\u003cp>Grande and Nicki Minaj got steamy during their performance of the reggae-tinged “Side to Side”: Grande’s background dancers danced closely on her, and one male dancer even pulled up her skirt, while Minaj, who rapped from a chair, spread her legs widely.\u003c/p>\n\u003cp>Other performers included Maroon 5 with Kendrick Lamar; DJ Khaled with Minaj, Future, Rick Ross and August Alsina; and Fifth Harmony, who won collaboration of the year for “Work from Home” with Ty Dolla $ign.\u003c/p>\n\u003cp>Prince’s 1984 \u003cem>Purple Rain\u003c/em> album, which gained new attention after his death in April, won top soundtrack. His sister, Tyka Nelson, collected his trophy onstage and cried as she spoke to the audience.\u003c/p>\n\u003cp>“We’ll keep this for you at Paisley Park until we see you again,” she said weeping and naming her siblings. “This is for you.”\u003c/p>\n\u003cp>Other winners included Tim McGraw, the Chainsmokers and Florida Georgia Line. Rihanna, who didn’t attend, won three awards. Adele and Beyonce were also absent but both won an award.\u003c/p>\n\u003cp>Zayn, who has won a handful of AMAs with his One Direction bandmates, took home new artist of the year.\u003c/p>\n\u003cp>“Wow. This one just has my name on it, right?” he said. “This has been a crazy year … I didn’t expect anyone to vote for me, so thank you for voting for me.”\u003c/p>\n\u003ch3>List of 2016 AMA Winners:\u003c/h3>\n\u003cp>\u003cstrong>Artist of the year:\u003c/strong> Ariana Grande\u003c/p>\n\u003cp>\u003cstrong>New artist of the year:\u003c/strong> Zayn\u003c/p>\n\u003cp>\u003cstrong>Collaboration of the year:\u003c/strong> “Work from Home,” Fifth Harmony feat. Ty Dolla $ign\u003c/p>\n\u003cp>\u003cstrong>Tour of the year:\u003c/strong> Beyoncé\u003c/p>\n\u003cp>\u003cstrong>Video of the year:\u003c/strong> “Sorry,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock female artist:\u003c/strong> Selena Gomez\u003c/p>\n\u003cp>\u003cstrong>Pop/rock male artist:\u003c/strong> Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock band, duo or group:\u003c/strong> Twenty One Pilots\u003c/p>\n\u003cp>\u003cstrong>Pop/rock song:\u003c/strong> “Love Yourself,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock album:\u003c/strong>\u003cem> Purpose\u003c/em>, Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Country female artist:\u003c/strong> Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Country male artist:\u003c/strong> Blake Shelton\u003c/p>\n\u003cp>\u003cstrong>Country band, duo or group:\u003c/strong> Florida Georgia Line\u003c/p>\n\u003cp>\u003cstrong>Country song:\u003c/strong> “Humble and Kind,” Tim McGraw\u003c/p>\n\u003cp>\u003cstrong>Country album:\u003c/strong> \u003cem>Storyteller\u003c/em>, Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop artist:\u003c/strong> Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop song:\u003c/strong> “Hotline Bling,” Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop album:\u003c/strong> \u003cem>Views\u003c/em>, Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B female artist:\u003c/strong> Rihanna\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B male artist:\u003c/strong> Chris Brown\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B song:\u003c/strong> “Work,” Rihanna feat. Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B album:\u003c/strong> “Anti,” Rihanna\u003c/p>\n\u003cp>\u003cstrong>Latin artist:\u003c/strong> Enrique Iglesias\u003c/p>\n\u003cp>\u003cstrong>Alternative rock:\u003c/strong> Twenty One Pilots\u003cbr>\n\u003cstrong>\u003cbr>\nAdult contemporary:\u003c/strong> Adele\u003c/p>\n\u003cp>\u003cstrong>Contemporary inspirational:\u003c/strong> Hillsong United\u003c/p>\n\u003cp>\u003cstrong>Electronic dance music:\u003c/strong> The Chainsmokers\u003c/p>\n\u003cp>\u003cstrong>Soundtrack:\u003c/strong> \u003cem>Purple Rain\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Award of merit:\u003c/strong> Sting\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2016 American Music Awards featured a number of pop stars strumming their guitars, Drake making a rare awards show appearance, an emotional speech from Selena Gomez and political moments about President-elect Donald Trump.\u003c/p>\n\u003cp>Drake, who has skipped his fair share of awards shows in recent years, was the big winner with four awards and debuted a new commercial for Apple Music.\u003c/p>\n\u003cp>“For our genre, I just like to keep things excited and keep making music. Shout out to everybody that’s trying to do the same thing,” said Drake, who broke Michael Jackson’s record for most AMA nominations after scoring 13 nominations.\u003c/p>\n\u003cp>Bieber, who performed from his tour in Zurich, Switzerland, also won four awards.\u003c/p>\n\u003cp>Gomez, who lost artist of the year to Ariana Grande but won favorite female artist — pop/rock, gave a heartfelt speech onstage that earned a loud applause from the audience at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s safe to say that most of you know a lot of my life whether I liked it or not, and I had to stop, ’cause I had everything, and I was absolutely broken inside. And I kept it all together to where I never let you down. But I kept it too much together where I let myself down,” said 24-year-old Gomez, who recently took time off to treat depression and anxiety.\u003c/p>\n\u003cp>“I don’t want to see your bodies on Instagram. I want to see what’s in here,” she added, pointing to her heart. “And I have to say thank you so much to my fans because you guys are so damn loyal, and I don’t know what I did to deserve you. If you are broken, you don’t have to stay broken.”\u003c/p>\n\u003cp>Grande was shaking onstage as she collected artist of the year at the fan-voted show that aired live on ABC, beating Rihanna, Carrie Underwood and Bieber. “With or without this, I love you from the bottom of my heart,” she said to her fans.\u003c/p>\n\u003cp>Green Day was one of many big-named acts promoting new albums at the AMAs, including Bruno Mars, the Weeknd, Lady Gaga, Sting, John Legend and The Chainsmokers. But Green Day got political during their performance of “Bang Bang” as band leader Billie Joe Armstrong sang “No KKK, no fascist USA, no Trump” during the show.\u003c/p>\n\u003cp>The show’s hosts — former \u003cem>Saturday Night Live\u003c/em> comic Jay Pharaoh and model Gigi Hadid — also mentioned the Trump family when telling jokes: After Pharaoh impersonated Jay Z, Hadid acted like Melania Trump.\u003c/p>\n\u003cp>“I love my husband, President Barack Obama, and our children, Sasha and Malia,” she said, scrunching up her face.\u003c/p>\n\u003cp>Strumming guitars while singing was one of the night’s themes: One Direction’s Niall Horan slowed things down for his acoustic-folk solo single, “This Town”: James Bay sang his smoky single, “Let It Go”; and Shawn Mendes performed his hit “Treat You Better” and switched to piano for the aching “Mercy.”\u003c/p>\n\u003cp>But the best singer-guitarist was Gaga, who beautifully belted the lyrics to her latest single, “Million Reasons.” She earned a rousing applause from the audience.\u003c/p>\n\u003cp>Sting also impressed, with his performances of “Message In a Bottle,” “Every Breathe You Take” and his new single, “I Can’t Stop Thinking About You.” He received the American Music Award of Merit, which was presented to him by Robert Downey Jr.\u003c/p>\n\u003cp>“American music lit the musical spark in my young mind,” the English singer said after his performance. “My musical soul is all American!”\u003c/p>\n\u003cp>Other highlights included double winners twenty one pilots and Mars, who kicked off the AMAs with his groovy hit, “24K Magic,” backed by his band who matched his slick, upbeat dance moves.\u003c/p>\n\u003cp>Grande and Nicki Minaj got steamy during their performance of the reggae-tinged “Side to Side”: Grande’s background dancers danced closely on her, and one male dancer even pulled up her skirt, while Minaj, who rapped from a chair, spread her legs widely.\u003c/p>\n\u003cp>Other performers included Maroon 5 with Kendrick Lamar; DJ Khaled with Minaj, Future, Rick Ross and August Alsina; and Fifth Harmony, who won collaboration of the year for “Work from Home” with Ty Dolla $ign.\u003c/p>\n\u003cp>Prince’s 1984 \u003cem>Purple Rain\u003c/em> album, which gained new attention after his death in April, won top soundtrack. His sister, Tyka Nelson, collected his trophy onstage and cried as she spoke to the audience.\u003c/p>\n\u003cp>“We’ll keep this for you at Paisley Park until we see you again,” she said weeping and naming her siblings. “This is for you.”\u003c/p>\n\u003cp>Other winners included Tim McGraw, the Chainsmokers and Florida Georgia Line. Rihanna, who didn’t attend, won three awards. Adele and Beyonce were also absent but both won an award.\u003c/p>\n\u003cp>Zayn, who has won a handful of AMAs with his One Direction bandmates, took home new artist of the year.\u003c/p>\n\u003cp>“Wow. This one just has my name on it, right?” he said. “This has been a crazy year … I didn’t expect anyone to vote for me, so thank you for voting for me.”\u003c/p>\n\u003ch3>List of 2016 AMA Winners:\u003c/h3>\n\u003cp>\u003cstrong>Artist of the year:\u003c/strong> Ariana Grande\u003c/p>\n\u003cp>\u003cstrong>New artist of the year:\u003c/strong> Zayn\u003c/p>\n\u003cp>\u003cstrong>Collaboration of the year:\u003c/strong> “Work from Home,” Fifth Harmony feat. Ty Dolla $ign\u003c/p>\n\u003cp>\u003cstrong>Tour of the year:\u003c/strong> Beyoncé\u003c/p>\n\u003cp>\u003cstrong>Video of the year:\u003c/strong> “Sorry,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock female artist:\u003c/strong> Selena Gomez\u003c/p>\n\u003cp>\u003cstrong>Pop/rock male artist:\u003c/strong> Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock band, duo or group:\u003c/strong> Twenty One Pilots\u003c/p>\n\u003cp>\u003cstrong>Pop/rock song:\u003c/strong> “Love Yourself,” Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Pop/rock album:\u003c/strong>\u003cem> Purpose\u003c/em>, Justin Bieber\u003c/p>\n\u003cp>\u003cstrong>Country female artist:\u003c/strong> Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Country male artist:\u003c/strong> Blake Shelton\u003c/p>\n\u003cp>\u003cstrong>Country band, duo or group:\u003c/strong> Florida Georgia Line\u003c/p>\n\u003cp>\u003cstrong>Country song:\u003c/strong> “Humble and Kind,” Tim McGraw\u003c/p>\n\u003cp>\u003cstrong>Country album:\u003c/strong> \u003cem>Storyteller\u003c/em>, Carrie Underwood\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop artist:\u003c/strong> Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop song:\u003c/strong> “Hotline Bling,” Drake\u003c/p>\n\u003cp>\u003cstrong>Rap/hip-hop album:\u003c/strong> \u003cem>Views\u003c/em>, Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B female artist:\u003c/strong> Rihanna\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B male artist:\u003c/strong> Chris Brown\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B song:\u003c/strong> “Work,” Rihanna feat. Drake\u003c/p>\n\u003cp>\u003cstrong>Soul/R&B album:\u003c/strong> “Anti,” Rihanna\u003c/p>\n\u003cp>\u003cstrong>Latin artist:\u003c/strong> Enrique Iglesias\u003c/p>\n\u003cp>\u003cstrong>Alternative rock:\u003c/strong> Twenty One Pilots\u003cbr>\n\u003cstrong>\u003cbr>\nAdult contemporary:\u003c/strong> Adele\u003c/p>\n\u003cp>\u003cstrong>Contemporary inspirational:\u003c/strong> Hillsong United\u003c/p>\n\u003cp>\u003cstrong>Electronic dance music:\u003c/strong> The Chainsmokers\u003c/p>\n\u003cp>\u003cstrong>Soundtrack:\u003c/strong> \u003cem>Purple Rain\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Award of merit:\u003c/strong> Sting\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Queen Among Kings",
"headTitle": "A Queen Among Kings | KQED",
"content": "\u003cp>The first time I ever saw Sharon Jones and the Dap-Kings perform was circa 2002 at the Elbo Room, a tiny venue in San Francisco’s Mission District. If you’ve ever been there, you know the Elbo Room doesn’t need many bodies to pack the floor, and with the Dap-Kings crowding the diminutive stage, the full intensity of their act filled the space from practically the first note. I was already familiar with the group through its early records, but hadn’t fully appreciated how much power Jones could pack into her stout, 5-foot frame as she sang, sweated, stamped, strutted, slayed.\u003c/p>\n\u003cp>Jones, who passed away last week after a long, public battle with pancreatic cancer, enjoyed one of the great second acts of American pop music history, one whose countless retellings never seems to diminish its wonder. She was born in Augusta, Ga., in the mid-1950s, which made her just a little too young to have made a go at a soul career in the heyday of the 1960s and early ’70s. The closest she got was at age 17, singing backup on tour with Long Island R&B girl group The Magic Touch. Fast forward 20 years and Jones was working as a corrections officer out of Rikers Island prison while moonlighting as a wedding singer on the weekends.\u003c/p>\n\u003cp>http://www.npr.org/event/music/460562287/sharon-jones-the-dap-kings-tiny-desk-concert\u003c/p>\n\u003cp>Back then, Jones was dating a saxophonist associated with New York’s Desco Records, a short-lived but influential label specializing in vintage-sounding gutbucket funk singles. Desco’s co-founder and engineer, Gabriel Roth, tinkered with perfecting that throwback affectation, but they still needed a singer who could nail the proper vocal vibe. Enter Sharon Jones.\u003c/p>\n\u003cp>In hindsight, it’s easy to romanticize this chance encounter between Roth and Jones as fate, but the eventual magic they’d create took a while to fully develop. Somewhere in my crates, I have a few of those early Desco sides, many of which were pitch-perfect, retro-funk fare, but as much as I enjoyed those records, at times, they could sound more like attempts at stylistic replication than forging a distinctively original signature. I have an email from that era where I described Jones and her band as “another James Brown satellite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then Desco folded and Daptone Records arose from the ashes, with Jones and the Dap-Kings forming the new label’s centerpiece. The group’s first album, 2002’s \u003cem>Dap-Dippin’ With…,\u003c/em> was recorded in between the two labels and carried much of the Desco style with it, but their next effort, 2004’s \u003cem>Naturally, \u003c/em>suggested a new direction, especially for Jones. On songs like the album’s lush, closing ballad, “All Over Again,” she emoted with a different kind of urgency, one based around a quiet intensity of feeling rather than just lung-busting power.\u003c/p>\n\u003cp>The thing is, as much as Jones was compared to the likes of such funk-era stars as Lyn Collins or Marva Whitney, her voice took on new texture and dimension when she played with earlier, blues-influenced styles, a la Lavern Baker or Ruby Johnson. She gradually mastered how to exert a hefty presence through small, inflective touches; I especially loved when she would end a line with a doo-wop curl into a higher register.\u003c/p>\n\u003cp>http://www.npr.org/2016/07/28/487707877/soul-singer-sharon-jones-the-cancer-is-here-but-i-want-to-perform\u003c/p>\n\u003cp>By the second and third times I saw Jones and the Dap-Kings perform, it was clear that their work was paying figurative and literal dividends: They sold out Los Angeles’s El Rey Theater in December 2007, and by next summer they were headlining the Hollywood Bowl to a crowd that was roughly 50 times the size of the Elbo Room’s. Touring behind what was arguably the group’s best album, \u003cem>100 Days, 100 Nights, \u003c/em>Jones was in the spotlight like never before, though she had a little help from an up-and-coming pop-soul singer out of London’s Southgate neighborhood: Amy Winehouse.\u003c/p>\n\u003cp>When producer Mark Ronson began working with Winehouse on what would become her renowned sophomore album, 2006’s \u003cem>Back to Black\u003c/em>, he enlisted the Dap-Kings as both session players and a tour band. As \u003cem>Back to Black \u003c/em>began to blow up with its own notably retro-soul groove, comparisons between Winehouse and Jones were inevitable, especially as the former’s burgeoning stardom seemed to follow an all-too-familiar pattern of white singers finding greater success with styles initially associated with black innovators. As Jones herself told me in a 2007 interview, “we’ve been out here for the last 11 years and we went to London and there was a craze about it. We started this thing. A lot of them have heard us over the years and now they want it.” Without taking away from Winehouse’s own unique style, it’s undeniable that \u003cem>Back to Black\u003c/em>‘s sound borrowed heavily from the Dap-Kings’, but in return, as Winehouse’s prominence grew, it compelled many to discover and champion Jones and the band.\u003c/p>\n\u003cp>It’s remarkable to realize how much Jones and the Dap-Kings helped influence the broad pop landscape, coming out of that moment. Established acts like Solange Knowles and Raphael Saadiq began dabbling in various retro-soul offerings, but more substantially, an entire cadre of independent label soul artists arose alongside the Dap-Kings. That included other, older soul survivors such as Lee Fields, Charles Bradley and Nicole Willis, but also younger artists including Lady, Mayer Hawthorne, Myron & E, and Nick Waterhouse. Jones and the Dap-Kings weren’t the sole reason behind this explosion, but they were undeniably one of the most productive engines powering it.\u003c/p>\n\u003cfigure id=\"attachment_12365000\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Sharon2.jpg\" alt=\"Sharon Jones serenades a fan pulled up from the audience at the 2008 Outside Lands Festival.\" width=\"402\" height=\"602\" class=\"size-full wp-image-12365000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Jones serenades a fan pulled up from the audience at the 2008 Outside Lands Festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, as the band was supposed to be recording their fifth original full length (\u003cem>Give The People What They Want\u003c/em>)\u003cem>, \u003c/em>Jones was diagnosed with what eventually was identified as pancreatic cancer. She immediately went into treatment and that experience and its impact on her career and the band is documented in \u003cem>Miss Sharon Jones\u003c/em>, a documentary released earlier this summer. Some of the most powerful scenes show Jones rocking a post-chemo bald head and storming the stage with an unexpected ferocity despite her weakened condition.\u003c/p>\n\u003cp>\u003cem>Miss Sharon Jones \u003c/em>ended production when her cancer had gone into remission, but when the film first premiered a year ago, she disclosed that it had returned, more aggressive than ever. She returned to treatment, but still attempted to maintain an active touring schedule. The last time I spoke to her was for an interview in July of this year, and when I asked how she mustered the energy to still perform, she said “right before I get on that stage, it’s like something comes over me and the pain goes away. I guess the adrenaline just gets going and your body’s just like, ‘Well, here we go!'”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hearing about Jones’s death on Friday felt like yet another cruel blow in a year already brimming with unimaginable musical loss. But I immediately thought back to all her past performances, especially that first time, commanding the Elbo Room. Her vitality was enthralling, and much as I mourned her passing, I spent far more time dwelling on how remarkable her life was. Starting at age 40, she began to realize the dream of every kid who ever saw a mic and thought “One day…” She went on to forge a 20-year career of incomparable performances and influential recordings that’d be the envy of any artist out there. And in those final, difficult years, her dedication to her band and fans, her ineffable presence on stage, reminded me that there is still a beauty and grace in this world that even the specter of death cannot diminish. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I ever saw Sharon Jones and the Dap-Kings perform was circa 2002 at the Elbo Room, a tiny venue in San Francisco’s Mission District. If you’ve ever been there, you know the Elbo Room doesn’t need many bodies to pack the floor, and with the Dap-Kings crowding the diminutive stage, the full intensity of their act filled the space from practically the first note. I was already familiar with the group through its early records, but hadn’t fully appreciated how much power Jones could pack into her stout, 5-foot frame as she sang, sweated, stamped, strutted, slayed.\u003c/p>\n\u003cp>Jones, who passed away last week after a long, public battle with pancreatic cancer, enjoyed one of the great second acts of American pop music history, one whose countless retellings never seems to diminish its wonder. She was born in Augusta, Ga., in the mid-1950s, which made her just a little too young to have made a go at a soul career in the heyday of the 1960s and early ’70s. The closest she got was at age 17, singing backup on tour with Long Island R&B girl group The Magic Touch. Fast forward 20 years and Jones was working as a corrections officer out of Rikers Island prison while moonlighting as a wedding singer on the weekends.\u003c/p>\n\u003cp>http://www.npr.org/event/music/460562287/sharon-jones-the-dap-kings-tiny-desk-concert\u003c/p>\n\u003cp>Back then, Jones was dating a saxophonist associated with New York’s Desco Records, a short-lived but influential label specializing in vintage-sounding gutbucket funk singles. Desco’s co-founder and engineer, Gabriel Roth, tinkered with perfecting that throwback affectation, but they still needed a singer who could nail the proper vocal vibe. Enter Sharon Jones.\u003c/p>\n\u003cp>In hindsight, it’s easy to romanticize this chance encounter between Roth and Jones as fate, but the eventual magic they’d create took a while to fully develop. Somewhere in my crates, I have a few of those early Desco sides, many of which were pitch-perfect, retro-funk fare, but as much as I enjoyed those records, at times, they could sound more like attempts at stylistic replication than forging a distinctively original signature. I have an email from that era where I described Jones and her band as “another James Brown satellite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then Desco folded and Daptone Records arose from the ashes, with Jones and the Dap-Kings forming the new label’s centerpiece. The group’s first album, 2002’s \u003cem>Dap-Dippin’ With…,\u003c/em> was recorded in between the two labels and carried much of the Desco style with it, but their next effort, 2004’s \u003cem>Naturally, \u003c/em>suggested a new direction, especially for Jones. On songs like the album’s lush, closing ballad, “All Over Again,” she emoted with a different kind of urgency, one based around a quiet intensity of feeling rather than just lung-busting power.\u003c/p>\n\u003cp>The thing is, as much as Jones was compared to the likes of such funk-era stars as Lyn Collins or Marva Whitney, her voice took on new texture and dimension when she played with earlier, blues-influenced styles, a la Lavern Baker or Ruby Johnson. She gradually mastered how to exert a hefty presence through small, inflective touches; I especially loved when she would end a line with a doo-wop curl into a higher register.\u003c/p>\n\u003cp>http://www.npr.org/2016/07/28/487707877/soul-singer-sharon-jones-the-cancer-is-here-but-i-want-to-perform\u003c/p>\n\u003cp>By the second and third times I saw Jones and the Dap-Kings perform, it was clear that their work was paying figurative and literal dividends: They sold out Los Angeles’s El Rey Theater in December 2007, and by next summer they were headlining the Hollywood Bowl to a crowd that was roughly 50 times the size of the Elbo Room’s. Touring behind what was arguably the group’s best album, \u003cem>100 Days, 100 Nights, \u003c/em>Jones was in the spotlight like never before, though she had a little help from an up-and-coming pop-soul singer out of London’s Southgate neighborhood: Amy Winehouse.\u003c/p>\n\u003cp>When producer Mark Ronson began working with Winehouse on what would become her renowned sophomore album, 2006’s \u003cem>Back to Black\u003c/em>, he enlisted the Dap-Kings as both session players and a tour band. As \u003cem>Back to Black \u003c/em>began to blow up with its own notably retro-soul groove, comparisons between Winehouse and Jones were inevitable, especially as the former’s burgeoning stardom seemed to follow an all-too-familiar pattern of white singers finding greater success with styles initially associated with black innovators. As Jones herself told me in a 2007 interview, “we’ve been out here for the last 11 years and we went to London and there was a craze about it. We started this thing. A lot of them have heard us over the years and now they want it.” Without taking away from Winehouse’s own unique style, it’s undeniable that \u003cem>Back to Black\u003c/em>‘s sound borrowed heavily from the Dap-Kings’, but in return, as Winehouse’s prominence grew, it compelled many to discover and champion Jones and the band.\u003c/p>\n\u003cp>It’s remarkable to realize how much Jones and the Dap-Kings helped influence the broad pop landscape, coming out of that moment. Established acts like Solange Knowles and Raphael Saadiq began dabbling in various retro-soul offerings, but more substantially, an entire cadre of independent label soul artists arose alongside the Dap-Kings. That included other, older soul survivors such as Lee Fields, Charles Bradley and Nicole Willis, but also younger artists including Lady, Mayer Hawthorne, Myron & E, and Nick Waterhouse. Jones and the Dap-Kings weren’t the sole reason behind this explosion, but they were undeniably one of the most productive engines powering it.\u003c/p>\n\u003cfigure id=\"attachment_12365000\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Sharon2.jpg\" alt=\"Sharon Jones serenades a fan pulled up from the audience at the 2008 Outside Lands Festival.\" width=\"402\" height=\"602\" class=\"size-full wp-image-12365000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Sharon2-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Jones serenades a fan pulled up from the audience at the 2008 Outside Lands Festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, as the band was supposed to be recording their fifth original full length (\u003cem>Give The People What They Want\u003c/em>)\u003cem>, \u003c/em>Jones was diagnosed with what eventually was identified as pancreatic cancer. She immediately went into treatment and that experience and its impact on her career and the band is documented in \u003cem>Miss Sharon Jones\u003c/em>, a documentary released earlier this summer. Some of the most powerful scenes show Jones rocking a post-chemo bald head and storming the stage with an unexpected ferocity despite her weakened condition.\u003c/p>\n\u003cp>\u003cem>Miss Sharon Jones \u003c/em>ended production when her cancer had gone into remission, but when the film first premiered a year ago, she disclosed that it had returned, more aggressive than ever. She returned to treatment, but still attempted to maintain an active touring schedule. The last time I spoke to her was for an interview in July of this year, and when I asked how she mustered the energy to still perform, she said “right before I get on that stage, it’s like something comes over me and the pain goes away. I guess the adrenaline just gets going and your body’s just like, ‘Well, here we go!'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hearing about Jones’s death on Friday felt like yet another cruel blow in a year already brimming with unimaginable musical loss. But I immediately thought back to all her past performances, especially that first time, commanding the Elbo Room. Her vitality was enthralling, and much as I mourned her passing, I spent far more time dwelling on how remarkable her life was. Starting at age 40, she began to realize the dream of every kid who ever saw a mic and thought “One day…” She went on to forge a 20-year career of incomparable performances and influential recordings that’d be the envy of any artist out there. And in those final, difficult years, her dedication to her band and fans, her ineffable presence on stage, reminded me that there is still a beauty and grace in this world that even the specter of death cannot diminish. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just days after telling fans at a concert that he would have voted for Donald Trump, Kanye West delivered another public screed before abruptly ending a concert in Northern California, then canceled the rest of his tour..\u003c/p>\n\u003cp>Captured on video by concert-goers Saturday night in Sacramento, West in an over 10-minute tirade told the audience he was on his “Trump (expletive) tonight.” He talked about Beyoncé, Jay Z, Hillary Clinton, Mark Zuckerberg, the radio and MTV at the stop of his Saint Pablo Tour.\u003c/p>\n\u003cp>Fans in attendance said on social media that West played only a few songs before ending the show abruptly after only 30 minutes. The angry audience booed, and many are seeking refunds for the aborted show. Some paid around $250 for a pair of tickets.\u003c/p>\n\u003cp>On Sunday night, Ticketmaster announced that West’s show at the Forum in the Los Angeles suburb of Inglewood, California, was cancelled. The ticket vendor gave no explanation for the cancellation.\u003c/p>\n\u003cp>A representative for the rapper said Monday the remaining dates of West’s current tour have been canceled. No reason was given.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tour, now in California and with dates through Dec. 31, had future stops in Dallas, Denver, Atlanta, Philadelphia, Detroit, Boston, New York City and Washington, D.C., among others.\u003c/p>\n\u003cp>Saturday’s outburst and truncated show became a hot topic on Twitter and other social platforms Sunday morning, as amateur videos circulated of West’s rant where, among other things, he said he was hurt because he heard Beyoncé refused to perform at the MTV Video Music Awards unless she won Video of the Year over him. He also urged her husband Jay Z to call him and “talk to me like a man.”\u003c/p>\n\u003cp>West took aim at radio stations for playing the same stuff “over and over and over,” too and also addressed Hillary Clinton.\u003c/p>\n\u003cp>“It’s a new world, Hillary Clinton, it’s a new world,” West said. “Feelings matter. Because guess what? Everybody in middle America felt a way and they showed you how they felt. Feelings matter, bro.”\u003c/p>\n\u003cp>The performer said he was putting his life, career and “public well-standing” at risk by talking to the fans in the audience “like this,” adding that his Saint Pablo tour “is the most relevant (expletive) happening.”\u003c/p>\n\u003cp>He continued: “I am here to change things. And things won’t change until people admit their own falsehoods. I got the visions, bro. That’s what I’ve been blessed with. My vision. I’m not always going to say things the perfect way, the right way. But I’m going to say how I feel.”\u003c/p>\n\u003cp>West’s representatives did not immediately respond to request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after telling fans at a concert that he would have voted for Donald Trump, Kanye West delivered another public screed before abruptly ending a concert in Northern California, then canceled the rest of his tour..\u003c/p>\n\u003cp>Captured on video by concert-goers Saturday night in Sacramento, West in an over 10-minute tirade told the audience he was on his “Trump (expletive) tonight.” He talked about Beyoncé, Jay Z, Hillary Clinton, Mark Zuckerberg, the radio and MTV at the stop of his Saint Pablo Tour.\u003c/p>\n\u003cp>Fans in attendance said on social media that West played only a few songs before ending the show abruptly after only 30 minutes. The angry audience booed, and many are seeking refunds for the aborted show. Some paid around $250 for a pair of tickets.\u003c/p>\n\u003cp>On Sunday night, Ticketmaster announced that West’s show at the Forum in the Los Angeles suburb of Inglewood, California, was cancelled. The ticket vendor gave no explanation for the cancellation.\u003c/p>\n\u003cp>A representative for the rapper said Monday the remaining dates of West’s current tour have been canceled. No reason was given.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tour, now in California and with dates through Dec. 31, had future stops in Dallas, Denver, Atlanta, Philadelphia, Detroit, Boston, New York City and Washington, D.C., among others.\u003c/p>\n\u003cp>Saturday’s outburst and truncated show became a hot topic on Twitter and other social platforms Sunday morning, as amateur videos circulated of West’s rant where, among other things, he said he was hurt because he heard Beyoncé refused to perform at the MTV Video Music Awards unless she won Video of the Year over him. He also urged her husband Jay Z to call him and “talk to me like a man.”\u003c/p>\n\u003cp>West took aim at radio stations for playing the same stuff “over and over and over,” too and also addressed Hillary Clinton.\u003c/p>\n\u003cp>“It’s a new world, Hillary Clinton, it’s a new world,” West said. “Feelings matter. Because guess what? Everybody in middle America felt a way and they showed you how they felt. Feelings matter, bro.”\u003c/p>\n\u003cp>The performer said he was putting his life, career and “public well-standing” at risk by talking to the fans in the audience “like this,” adding that his Saint Pablo tour “is the most relevant (expletive) happening.”\u003c/p>\n\u003cp>He continued: “I am here to change things. And things won’t change until people admit their own falsehoods. I got the visions, bro. That’s what I’ve been blessed with. My vision. I’m not always going to say things the perfect way, the right way. But I’m going to say how I feel.”\u003c/p>\n\u003cp>West’s representatives did not immediately respond to request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many people will tell you that it’s been decades since Berkeley natives Green Day could truly be considered a punk band. (I am one of those people, sometimes — \u003ca href=\"https://ww2.kqed.org/arts/2016/10/21/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre/\" target=\"_blank\" rel=\"noopener\">it’s, well, complicated\u003c/a>.)\u003c/p>\n\u003cp>But no matter what you think of Green Day’s ascent from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman darlings\u003c/a> to major-label rock stardom, it doesn’t mean Billie Joe, Mike Dirnt, and Tre Cool have forgotten how to voice dissent through music. Need proof? The band performed at the American Music Awards in Los Angeles on Sunday, Nov. 20, and took the opportunity to make a highly unambiguous statement about where they stand on the recent presidential election, interrupting their song “Bang Bang” with a recurring chant of “No Trump! / No KKK! / No fascist USA!”\u003c/p>\n\u003cp>Here’s a quick clip of the chant, captured on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ErickFernandez/status/800541942652223488?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>And here’s a video of the full performance below. (Billie Joe Armstrong starts the chant at about 2:15.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eSZ0KzA9e1s\u003c/p>\n\u003cp>Bonus points for local punk fans: some will no doubt recognize the chant as a reference to the song “Born to Die,” by 1980s San Francisco hardcore band MDC. That song begins and ends with the lyrics “No war / No KKK / No fascist USA.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CjOYxqgKceg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green Day’s \u003cem>Revolution Radio, \u003c/em>the band’s 12th studio album,\u003cem> \u003c/em>was\u003cem> \u003c/em>released just last month. \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">Armstrong told\u003cem> Rolling Stone\u003c/em>\u003c/a> that “Bang Bang,” the record’s lead single, is about “the culture of mass shooting that happens in America mixed with narcissistic social media.”\u003c/p>\n\n",
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"excerpt": "Live on network television, the Berkeley boys changed their song \"Bang Bang\" to include a chant of \"No Trump, no KKK, no fascist USA.\"",
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"description": "Live on network television, the Berkeley boys changed their song "Bang Bang" to include a chant of "No Trump, no KKK, no fascist USA."",
"title": "WATCH: Green Day Leads Anti-Trump Chant During AMA Performance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many people will tell you that it’s been decades since Berkeley natives Green Day could truly be considered a punk band. (I am one of those people, sometimes — \u003ca href=\"https://ww2.kqed.org/arts/2016/10/21/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre/\" target=\"_blank\" rel=\"noopener\">it’s, well, complicated\u003c/a>.)\u003c/p>\n\u003cp>But no matter what you think of Green Day’s ascent from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman darlings\u003c/a> to major-label rock stardom, it doesn’t mean Billie Joe, Mike Dirnt, and Tre Cool have forgotten how to voice dissent through music. Need proof? The band performed at the American Music Awards in Los Angeles on Sunday, Nov. 20, and took the opportunity to make a highly unambiguous statement about where they stand on the recent presidential election, interrupting their song “Bang Bang” with a recurring chant of “No Trump! / No KKK! / No fascist USA!”\u003c/p>\n\u003cp>Here’s a quick clip of the chant, captured on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And here’s a video of the full performance below. (Billie Joe Armstrong starts the chant at about 2:15.)\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/eSZ0KzA9e1s'\n title='//www.youtube.com/embed/eSZ0KzA9e1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bonus points for local punk fans: some will no doubt recognize the chant as a reference to the song “Born to Die,” by 1980s San Francisco hardcore band MDC. That song begins and ends with the lyrics “No war / No KKK / No fascist USA.”\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/CjOYxqgKceg'\n title='//www.youtube.com/embed/CjOYxqgKceg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Green Day’s \u003cem>Revolution Radio, \u003c/em>the band’s 12th studio album,\u003cem> \u003c/em>was\u003cem> \u003c/em>released just last month. \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">Armstrong told\u003cem> Rolling Stone\u003c/em>\u003c/a> that “Bang Bang,” the record’s lead single, is about “the culture of mass shooting that happens in America mixed with narcissistic social media.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Making 'I'm Not Fascinating': A Tale of a Long-Gone San Francisco",
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"headTitle": "Making ‘I’m Not Fascinating’: A Tale of a Long-Gone San Francisco | KQED",
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"content": "\u003cp>What Danny Plotnick remembers most about the Icky Boyfriends was their crowds scrambling for the exit.\u003c/p>\n\u003cp>“You guys could clear a room pretty quickly,” Plotnick told Boyfriends drummer Anthony Bedard during a recent visit to KQED’s studios. “By the end of the first song, if there were 50 people to start, you’d be down to 15.”\u003c/p>\n\u003cp>The combination of singer Jon Swift’s obnoxious, sing-songy vocals, Shea Bond’s punchy riffs and Bedard’s unhinged drumming garnered few fans for the garage-punk trio in 1990s San Francisco. The band counted Plotnick, by then a celebrated indie filmmaker, among a dedicated but small group of followers. Even at the bands’ first show, where they opened for the Melvins to a packed house, they were booed off the stage. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>But a lack of wide appeal didn’t stop the Icky Boyfriends from releasing several records, nor did it keep them from making their own movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plotnick and Bedard made \u003ci>I’m Not Fascinating – The Movie!\u003c/i>, a fictionalized day-in-the-life of the Icky Boyfriends a la \u003ci>A Hard Days Night\u003c/i>, in a matter of weeks. Filmed on Super 8 for around $1,000, it has a look that screams “Straight to VHS.” But hidden under the nebulous colors and technical glitches is a lo-fi \u003ci>Spinal Tap\u003c/i>, full of quotable one-liners and proper pratfalls. \u003c/p>\n\u003cp>After seeing it one might be shocked to learn that it premiered to sold-out crowds in San Francisco, and toured both U.S. coasts, as well as Switzerland and New Zealand. (It’s also been translated to French.) But when you learn what Plotnick and Bedard went through to make the movie, you’ll agree — the fact it’s even watchable is an achievement.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/164602978\u003cbr>\n\u003c/aside>\n\u003ch3>San Francisco You Make Me Puke\u003c/h3>\n\u003cp>In 1996, the year Plotnick and Bedard made \u003ci>I’m Not Fascinating\u003c/i>, San Francisco was full of danger and grit. Around 16th and Valencia, getting mugged in broad daylight was routine. Chel’s 6th St. Rendezvous, a little club south of Market where the Icky Boyfriends often played, was a hot spot for murder, if the \u003cem>San Francisco Chronicle\u003c/em>’s crime maps were to be believed.\u003c/p>\n\u003cp>But that also meant the city was cheap to live in.\u003c/p>\n\u003cp>“In fact there was almost a reverse snobbery in that if you found out anybody was paying more than $300 a month for rent, they were immediately suspected of being a yuppie,” Bedard said. \u003c/p>\n\u003cp>Cheap rent meant Plotnick and Bedard only needed to work part-time or for minimum wage to get by, while rest of their time could go to creative pursuits. Plotnick, who came to San Francisco from Detroit, worked full-time at Video Monitoring Services, scouring news shows for mentions of their subscribers (companies like PG&E, for example). His $7-an-hour wage meant he could pay rent, make Super 8 films like \u003ci>\u003ca href=\"http://dangerousminds.net/comments/skate_witches_the_true_story\" target=\"_blank\" rel=\"noopener\">Skate Witches\u003c/a>\u003c/i> and take them to film festivals around the country, and publish his magazine \u003ci>\u003ca href=\"http://www.tcj.com/motorbooty-the-better-magazine/\" target=\"_blank\" rel=\"noopener\">Motorbooty.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Swift, one of Plotnick’s coworkers, must’ve figured out who Plotnick was, because one day he handed him a tape of his band the Icky Boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_12368529\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1020x708.jpg\" alt=\"Danny Plotnick editing 'I'm Not Fascinating'\" width=\"640\" height=\"444\" class=\"size-large wp-image-12368529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-520x361.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Danny Plotnick editing ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because I put out this magazine \u003cem>Motorbooty\u003c/em>, a lot of people gave me cassettes and records. It was always a little awkward. I always feel like, ‘What if I don’t like it and I’ve got to work with this guy?'” Plotnick said. “One day I went home and I listened to it and I was blown away.”\u003c/p>\n\u003cp>Plotnick gave Swift a VHS tape of his films that included \u003ci>\u003ca href=\"http://www.dannyplotnick.com/steel_belted_romeos.php\" target=\"_blank\" rel=\"noopener\">Death Sled II: Steel Belted Romeos\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"http://www.dannyplotnick.com/dumbass_from_dundas.php\" target=\"_blank\" rel=\"noopener\">Dumbass From Dundas\u003c/a>,\u003c/i> which the band watched on repeat at their practice space in a warehouse on Sycamore Street. \u003c/p>\n\u003ch3>Scrambled Eggs and Pepsi\u003c/h3>\n\u003cp>After becoming friends, Plotnick and Bedard began scheming, at various bars and shows, about making a movie starring the Icky Boyfriends.\u003c/p>\n\u003cp>“At the time I kept a little file card box of movie ideas on index cards,” Plotnick said. “I think I had a bunch of ideas written down for the Icky Boyfriends. There would be things like, ‘Icky Boyfriends Ski Vacation.'”\u003c/p>\n\u003cp>But work on the film didn’t begin until 1995, when Swift announced he’d had it with the city. San Francisco was a frequent target for Swift’s outlandish lyrical abuse (“San Francisco / You make me puke / Why don’t you / put up your dukes”), but his frustration with the city was real. He made plans to move away from San Francisco that fall, and by the time Plotnick could start working on a script, there were only three weeks left to write and shoot the entire film.\u003c/p>\n\u003cfigure id=\"attachment_12368537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin.jpg\" alt=\"Claudia Vlasak and Jon Swift in 'I'm Not Fascinating'\" width=\"800\" height=\"640\" class=\"size-full wp-image-12368537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Vlasak and Jon Swift in ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s job at the time was writing economic assessments of foreign countries for the Bank Of America, assigning letter grades to governments based on their investment potential. That summer, his manager spent his days working on a book proposal instead of his responsibilities, so Bedard took the same liberty and wrote a script during work hours, sending Plotnick joke ideas via email. \u003c/p>\n\u003cp>“I went to look for a copy of the script and I could not find anything for the movie beyond like a two-page outline, and I’m usually pretty meticulous with all the records and ephemera that I keep,” Plotnick said.\u003c/p>\n\u003cp>“People who are actually watching this movie won’t be surprised to hear about the lack of an existing script,” Bedard said.\u003c/p>\n\u003cp>The film was initially supposed to be a 20-minute short about the day in the life of the Icky Boyfriends. To start, the band would wake up together in bed under blankets made of newspapers and proceed to drink Pepsi for breakfast while discussing plans for their show that night. \u003c/p>\n\u003cp>“I think we had come up with this waking up scene where we just saw them with their socks — very kind of \u003cem>Three Stooges\u003c/em>. Then I said, ‘Well if it’s a day in their life, there’s got to be a breakfast scene. You guys don’t happen to have any breakfast songs, do you?'” Plotnick said. “They were like, ‘Yeah, we have a song called “Pepsi for Breakfast,”‘ and so that scene ended up writing itself.” \u003c/p>\n\u003cfigure id=\"attachment_12368532\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1020x666.jpg\" alt=\"Ray Wilcox and Chris Enright in a scene set at an old Aquarius Records location\" width=\"640\" height=\"418\" class=\"size-large wp-image-12368532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-520x340.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ray Wilcox and Chris Enright in a scene set at an old Aquarius Records location. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing a meal of scrambled eggs with Pepsi, the guys would then go to their various “jobs”: Bedard and Bond working as teachers at a comedy school (a satire on comedy traffic school), while Swift visited various women around the city who primped and preened him for taking the stage later that night. Finally, the band would play a show, where they’d be poorly received and have several objects thrown at them, yet one guy in the crowd would end up signing them to his record label — a finale based on the real-life events of the Icky Boyfriends getting signed because of that horrific first show with the Melvins.\u003c/p>\n\u003cp>On the third week of pre-production, Plotnick and Bedard had 60 percent of a script and they needed to start shooting. The earliest time they could schedule was that Saturday; Swift was moving to the East Coast that Monday.\u003c/p>\n\u003ch3>You Wanna Talk About It?\u003c/h3>\n\u003cp>The first scene Plotnick scheduled to shoot that Saturday involved Swift having his massive black afro washed in a sink. Swift showed up about three hours late. The shooting hadn’t yet begun and already Plotnick was tempted to give up — not only did one of his stars seem to not take the project seriously, he didn’t even know if the Icky Boyfriends were going to help him pay for it. (They did.) \u003c/p>\n\u003cp>Then the Super 8 camera — the one that Plotnick had used on all of his movies — died after the first shot.\u003c/p>\n\u003cp>“At that point it was too late in the day for me to go track down another camera. Even if there was a place open where I could rent one, we would lose another hour just going to get it,” Plotnick said. “I ended up going into my closet where I had a bunch of thrift store Super 8 cameras that I hadn’t necessarily used before.”\u003c/p>\n\u003cp>The backup camera turned out to be broken too, but Plotnick couldn’t have known; he didn’t see its faults until after the footage was processed. In the film, all the scenes with Swift have a strange flickering effect that looks like the camera operator adjusting the white balance in the middle of a shot.\u003c/p>\n\u003cfigure id=\"attachment_12368543\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1020x665.jpg\" alt='Plotnick directing Chris Enright as \"Mr. Past It\"' width=\"640\" height=\"417\" class=\"size-large wp-image-12368543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-520x339.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Plotnick directing Chris Enright as “Mr. Past It.” \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production kept moving along that weekend. All three of the Icky Boyfriends flexed their improv skills to make up for the lack of dialogue, and when Bedard wasn’t on camera, he was calling friends to set up locations and find more actors, hopefully with costumes.\u003c/p>\n\u003cp>“Of course, the kind of friends the Icky Boyfriends had weren’t really very busy at the time,” Bedard said.\u003c/p>\n\u003cp>With no time for rehearsal, which he’d depended on for his prior films, Plotnick was operating in new territory. But he also had Ray Wilcox and Chris Enright, the two stars of \u003ci>Steel Belt Romeos\u003c/i>, which he placed in as many scenes as possible. Given a few props and free rein, both brought a high level of foolishness to their characters, such as Wilcox’s portrayal of Sven, the German House music fan who could eat a hamburger and smoke a cigarette at the same time, or Enright as Mr. Past It, the record label owner with a shoddy New York accent who wore a captain’s hat and sunglasses everywhere he went.\u003c/p>\n\u003cp>But time was running out on Swift’s availability. Having no formal plan to shoot the concert scene, the band found a show already underway at the Cyclone Warehouse near Hunters Point and bum-rushed it, forcing themselves on stage.\u003c/p>\n\u003cp>“We had to find somebody holding a show and we just showed up,” Bedard said. “We didn’t even call. Like, we literally just arrived with the actors and the camera gear and went up to Jennifer and Lori Hall from Ovarian Trolley. We’re like, ‘Hey, do you mind if, in between bands, we use your show in progress to film an Icky Boyfriends concert scene?'”\u003c/p>\n\u003cp>By the end of the weekend, Plotnick and Bedard had everything they needed for their 20-minute short. But after Swift left, Plotnick and Bedard brainstormed a whole new section of the story: the Icky Boyfriends would see great opportunities after signing the deal, only to have all the members replaced by pay-to-play musicians by Mr. Past It when he realizes that the original Icky Boyfriends are a losing proposition. \u003c/p>\n\u003cp>Swift or no Swift, the crew shot another 29 minutes of footage, and by the time \u003cem>I’m Not Fascinating\u003c/em> was ready to premiere in February of 1996, the movie was no longer a short, but a featurette. That made it difficult to submit it to film festivals, which is how Plotnick usually showed his films to the masses. How were people going to see it?\u003c/p>\n\u003cfigure id=\"attachment_12368533\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1020x710.jpg\" alt='\"Mr. Past It\" drinks a beer' width=\"640\" height=\"445\" class=\"size-large wp-image-12368533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-520x362.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mr. Past It” drinks a beer. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>I’m Your Icky Boyfriend\u003c/h3>\n\u003cp>They took the film on tour. Plotnick was friends with the agent for the Demolition Doll Rods, the garage punk trio from Detroit, who agreed to put the film on as the opening act for their West Coast tour.\u003c/p>\n\u003cp>“We actually got paid for those shows,” Plotnick said.\u003c/p>\n\u003cp>The band held a “world premiere” for the film on Valentine’s Day at Johnny Depp’s club in Los Angeles, the Viper Room, opening for the Doll Rods and proto-punk trans hero Jayne County. Then they brought it back to San Francisco and showed it at Artists’ Television Access (ATA), with all three showings sold out.\u003c/p>\n\u003cp>“At the time, the ATA said that was the biggest show they ever had,” Plotnick said. “Between shows, Anthony and I couldn’t go outside because we’d be swarmed with people telling us, ‘You’ve got to let us in, you’ve got to let us in.'”\u003c/p>\n\u003cp>The film received positive reviews in both of San Francisco’s weeklies, the \u003cem>SF Weekly\u003c/em> and the \u003cem>Bay Guardian\u003c/em>, with the latter praising it as “a weirdly beautiful spectacle of self-defeat.” \u003c/p>\n\u003cfigure id=\"attachment_12368535\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1020x1209.jpg\" alt=\"Plotnick and Bedard at the 1996 premiere at ATA in San Francisco\" width=\"640\" height=\"759\" class=\"size-large wp-image-12368535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1020x1209.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-800x948.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-768x910.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1180x1399.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-960x1138.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-240x285.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-375x445.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Plotnick and Bedard at the 1996 premiere at ATA in San Francisco. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another short residency at the Mission District club the House of Low Self-Esteem saw hundreds more come out to see the movie. Then the two had the idea to take it on a tour of the East Coast, starting with the New York Underground Film Festival — where it played just hours before a set by jazz saxophonist Pharaoh Sanders at the old Knitting Factory — and later hitting cities like Baltimore and Philadelphia.\u003c/p>\n\u003cp>Plotnick toured with \u003ci>I’m Not Fascinating\u003c/i> all over the west coast, taking it as far as Vancouver, Canada, and later, to galleries in New Zealand. His friend, who purchased VHS tapes for Tower Records, agreed to buy several hundred copies of it for the then-influential record store chain. But finding a place that could properly transfer the Super 8 film to VHS became an ordeal. The VHS tapes the band ended up selling featured a print of the film that didn’t reflect the duo’s standards. And yet, thanks to Tower’s distribution, they still reached an audience.\u003c/p>\n\u003cfigure id=\"attachment_12368534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1020x1797.jpg\" alt=\"The VHS box for 'I'm Not Fascinating'\" width=\"640\" height=\"1128\" class=\"size-large wp-image-12368534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1020x1797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-160x282.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-800x1410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-768x1353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1180x2079.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-960x1691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-240x423.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-375x661.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-520x916.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The VHS box for ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Even just a couple of weeks ago, Shannon Shaw from Shannon and the Clams told me that she and her friend Amber from the Violence Creeps found it at a video store when they were teens living in Napa, and became weirdly obsessed with the movie,” Bedard said. “There was a girl, Tamara, who found the movie in a thrift store for a dollar and was so blown away by it that she wound up starting a band called the Icky Girlfriends with these two kids who were in middle school.”\u003c/p>\n\u003cp>Plotnick and Bedard had a high-quality digital version of the film made this year, which finally provided them with a transfer they can proudly share with the world. Plotnick took the film to a film festival in Switzerland last month, and there’s even talk about possibly releasing it on DVD so it can continue inspiring a few and confusing the rest — like it’s always done.\u003c/p>\n\u003cp>“Four years ago the Icky Boyfriends played Goner Fest,” Bedard said. “One of the guys from the Australian band Kitchen Floor came up to me after we played and he’s like, in his accent, ‘Oh man, the Icky Boyfriends movie, mate, so bad, mate. I mean it’s really bad. I mean it’s terrible. I can’t even tell you. I’ve seen it five or six times.’ I didn’t know how to take that.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘I’m Not Fascinating — The Movie!’ screens at the Alamo Drafthouse in San Francisco on Monday, Nov. 21. For tickets and more information, visit the \u003ca href=\"https://drafthouse.com/show/music-monday-im-not-fascinating\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Bonus:\u003c/b> Enjoy a recording of the band playing live in San Francisco in 2012.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293894843″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"excerpt": "In 1996, indie filmmaker Danny Plotnick teamed up with local garage band the Icky Boyfriends to make a movie with broken Super 8 cameras and little money. To everyone's surprise, it became an underground hit. ",
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"title": "Making 'I'm Not Fascinating': A Tale of a Long-Gone San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What Danny Plotnick remembers most about the Icky Boyfriends was their crowds scrambling for the exit.\u003c/p>\n\u003cp>“You guys could clear a room pretty quickly,” Plotnick told Boyfriends drummer Anthony Bedard during a recent visit to KQED’s studios. “By the end of the first song, if there were 50 people to start, you’d be down to 15.”\u003c/p>\n\u003cp>The combination of singer Jon Swift’s obnoxious, sing-songy vocals, Shea Bond’s punchy riffs and Bedard’s unhinged drumming garnered few fans for the garage-punk trio in 1990s San Francisco. The band counted Plotnick, by then a celebrated indie filmmaker, among a dedicated but small group of followers. Even at the bands’ first show, where they opened for the Melvins to a packed house, they were booed off the stage. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>But a lack of wide appeal didn’t stop the Icky Boyfriends from releasing several records, nor did it keep them from making their own movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plotnick and Bedard made \u003ci>I’m Not Fascinating – The Movie!\u003c/i>, a fictionalized day-in-the-life of the Icky Boyfriends a la \u003ci>A Hard Days Night\u003c/i>, in a matter of weeks. Filmed on Super 8 for around $1,000, it has a look that screams “Straight to VHS.” But hidden under the nebulous colors and technical glitches is a lo-fi \u003ci>Spinal Tap\u003c/i>, full of quotable one-liners and proper pratfalls. \u003c/p>\n\u003cp>After seeing it one might be shocked to learn that it premiered to sold-out crowds in San Francisco, and toured both U.S. coasts, as well as Switzerland and New Zealand. (It’s also been translated to French.) But when you learn what Plotnick and Bedard went through to make the movie, you’ll agree — the fact it’s even watchable is an achievement.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/164602978\u003cbr>\n\u003c/aside>\n\u003ch3>San Francisco You Make Me Puke\u003c/h3>\n\u003cp>In 1996, the year Plotnick and Bedard made \u003ci>I’m Not Fascinating\u003c/i>, San Francisco was full of danger and grit. Around 16th and Valencia, getting mugged in broad daylight was routine. Chel’s 6th St. Rendezvous, a little club south of Market where the Icky Boyfriends often played, was a hot spot for murder, if the \u003cem>San Francisco Chronicle\u003c/em>’s crime maps were to be believed.\u003c/p>\n\u003cp>But that also meant the city was cheap to live in.\u003c/p>\n\u003cp>“In fact there was almost a reverse snobbery in that if you found out anybody was paying more than $300 a month for rent, they were immediately suspected of being a yuppie,” Bedard said. \u003c/p>\n\u003cp>Cheap rent meant Plotnick and Bedard only needed to work part-time or for minimum wage to get by, while rest of their time could go to creative pursuits. Plotnick, who came to San Francisco from Detroit, worked full-time at Video Monitoring Services, scouring news shows for mentions of their subscribers (companies like PG&E, for example). His $7-an-hour wage meant he could pay rent, make Super 8 films like \u003ci>\u003ca href=\"http://dangerousminds.net/comments/skate_witches_the_true_story\" target=\"_blank\" rel=\"noopener\">Skate Witches\u003c/a>\u003c/i> and take them to film festivals around the country, and publish his magazine \u003ci>\u003ca href=\"http://www.tcj.com/motorbooty-the-better-magazine/\" target=\"_blank\" rel=\"noopener\">Motorbooty.\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Swift, one of Plotnick’s coworkers, must’ve figured out who Plotnick was, because one day he handed him a tape of his band the Icky Boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_12368529\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1020x708.jpg\" alt=\"Danny Plotnick editing 'I'm Not Fascinating'\" width=\"640\" height=\"444\" class=\"size-large wp-image-12368529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-960x667.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-375x260.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-Edits-Fascinating-520x361.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Danny Plotnick editing ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because I put out this magazine \u003cem>Motorbooty\u003c/em>, a lot of people gave me cassettes and records. It was always a little awkward. I always feel like, ‘What if I don’t like it and I’ve got to work with this guy?'” Plotnick said. “One day I went home and I listened to it and I was blown away.”\u003c/p>\n\u003cp>Plotnick gave Swift a VHS tape of his films that included \u003ci>\u003ca href=\"http://www.dannyplotnick.com/steel_belted_romeos.php\" target=\"_blank\" rel=\"noopener\">Death Sled II: Steel Belted Romeos\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"http://www.dannyplotnick.com/dumbass_from_dundas.php\" target=\"_blank\" rel=\"noopener\">Dumbass From Dundas\u003c/a>,\u003c/i> which the band watched on repeat at their practice space in a warehouse on Sycamore Street. \u003c/p>\n\u003ch3>Scrambled Eggs and Pepsi\u003c/h3>\n\u003cp>After becoming friends, Plotnick and Bedard began scheming, at various bars and shows, about making a movie starring the Icky Boyfriends.\u003c/p>\n\u003cp>“At the time I kept a little file card box of movie ideas on index cards,” Plotnick said. “I think I had a bunch of ideas written down for the Icky Boyfriends. There would be things like, ‘Icky Boyfriends Ski Vacation.'”\u003c/p>\n\u003cp>But work on the film didn’t begin until 1995, when Swift announced he’d had it with the city. San Francisco was a frequent target for Swift’s outlandish lyrical abuse (“San Francisco / You make me puke / Why don’t you / put up your dukes”), but his frustration with the city was real. He made plans to move away from San Francisco that fall, and by the time Plotnick could start working on a script, there were only three weeks left to write and shoot the entire film.\u003c/p>\n\u003cfigure id=\"attachment_12368537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin.jpg\" alt=\"Claudia Vlasak and Jon Swift in 'I'm Not Fascinating'\" width=\"800\" height=\"640\" class=\"size-full wp-image-12368537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Swift-in-Fascinatin-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Vlasak and Jon Swift in ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s job at the time was writing economic assessments of foreign countries for the Bank Of America, assigning letter grades to governments based on their investment potential. That summer, his manager spent his days working on a book proposal instead of his responsibilities, so Bedard took the same liberty and wrote a script during work hours, sending Plotnick joke ideas via email. \u003c/p>\n\u003cp>“I went to look for a copy of the script and I could not find anything for the movie beyond like a two-page outline, and I’m usually pretty meticulous with all the records and ephemera that I keep,” Plotnick said.\u003c/p>\n\u003cp>“People who are actually watching this movie won’t be surprised to hear about the lack of an existing script,” Bedard said.\u003c/p>\n\u003cp>The film was initially supposed to be a 20-minute short about the day in the life of the Icky Boyfriends. To start, the band would wake up together in bed under blankets made of newspapers and proceed to drink Pepsi for breakfast while discussing plans for their show that night. \u003c/p>\n\u003cp>“I think we had come up with this waking up scene where we just saw them with their socks — very kind of \u003cem>Three Stooges\u003c/em>. Then I said, ‘Well if it’s a day in their life, there’s got to be a breakfast scene. You guys don’t happen to have any breakfast songs, do you?'” Plotnick said. “They were like, ‘Yeah, we have a song called “Pepsi for Breakfast,”‘ and so that scene ended up writing itself.” \u003c/p>\n\u003cfigure id=\"attachment_12368532\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1020x666.jpg\" alt=\"Ray Wilcox and Chris Enright in a scene set at an old Aquarius Records location\" width=\"640\" height=\"418\" class=\"size-large wp-image-12368532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Record-Store-Fascinating-520x340.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ray Wilcox and Chris Enright in a scene set at an old Aquarius Records location. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing a meal of scrambled eggs with Pepsi, the guys would then go to their various “jobs”: Bedard and Bond working as teachers at a comedy school (a satire on comedy traffic school), while Swift visited various women around the city who primped and preened him for taking the stage later that night. Finally, the band would play a show, where they’d be poorly received and have several objects thrown at them, yet one guy in the crowd would end up signing them to his record label — a finale based on the real-life events of the Icky Boyfriends getting signed because of that horrific first show with the Melvins.\u003c/p>\n\u003cp>On the third week of pre-production, Plotnick and Bedard had 60 percent of a script and they needed to start shooting. The earliest time they could schedule was that Saturday; Swift was moving to the East Coast that Monday.\u003c/p>\n\u003ch3>You Wanna Talk About It?\u003c/h3>\n\u003cp>The first scene Plotnick scheduled to shoot that Saturday involved Swift having his massive black afro washed in a sink. Swift showed up about three hours late. The shooting hadn’t yet begun and already Plotnick was tempted to give up — not only did one of his stars seem to not take the project seriously, he didn’t even know if the Icky Boyfriends were going to help him pay for it. (They did.) \u003c/p>\n\u003cp>Then the Super 8 camera — the one that Plotnick had used on all of his movies — died after the first shot.\u003c/p>\n\u003cp>“At that point it was too late in the day for me to go track down another camera. Even if there was a place open where I could rent one, we would lose another hour just going to get it,” Plotnick said. “I ended up going into my closet where I had a bunch of thrift store Super 8 cameras that I hadn’t necessarily used before.”\u003c/p>\n\u003cp>The backup camera turned out to be broken too, but Plotnick couldn’t have known; he didn’t see its faults until after the footage was processed. In the film, all the scenes with Swift have a strange flickering effect that looks like the camera operator adjusting the white balance in the middle of a shot.\u003c/p>\n\u003cfigure id=\"attachment_12368543\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1020x665.jpg\" alt='Plotnick directing Chris Enright as \"Mr. Past It\"' width=\"640\" height=\"417\" class=\"size-large wp-image-12368543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Plotnick-shoots-Fascinating-520x339.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Plotnick directing Chris Enright as “Mr. Past It.” \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production kept moving along that weekend. All three of the Icky Boyfriends flexed their improv skills to make up for the lack of dialogue, and when Bedard wasn’t on camera, he was calling friends to set up locations and find more actors, hopefully with costumes.\u003c/p>\n\u003cp>“Of course, the kind of friends the Icky Boyfriends had weren’t really very busy at the time,” Bedard said.\u003c/p>\n\u003cp>With no time for rehearsal, which he’d depended on for his prior films, Plotnick was operating in new territory. But he also had Ray Wilcox and Chris Enright, the two stars of \u003ci>Steel Belt Romeos\u003c/i>, which he placed in as many scenes as possible. Given a few props and free rein, both brought a high level of foolishness to their characters, such as Wilcox’s portrayal of Sven, the German House music fan who could eat a hamburger and smoke a cigarette at the same time, or Enright as Mr. Past It, the record label owner with a shoddy New York accent who wore a captain’s hat and sunglasses everywhere he went.\u003c/p>\n\u003cp>But time was running out on Swift’s availability. Having no formal plan to shoot the concert scene, the band found a show already underway at the Cyclone Warehouse near Hunters Point and bum-rushed it, forcing themselves on stage.\u003c/p>\n\u003cp>“We had to find somebody holding a show and we just showed up,” Bedard said. “We didn’t even call. Like, we literally just arrived with the actors and the camera gear and went up to Jennifer and Lori Hall from Ovarian Trolley. We’re like, ‘Hey, do you mind if, in between bands, we use your show in progress to film an Icky Boyfriends concert scene?'”\u003c/p>\n\u003cp>By the end of the weekend, Plotnick and Bedard had everything they needed for their 20-minute short. But after Swift left, Plotnick and Bedard brainstormed a whole new section of the story: the Icky Boyfriends would see great opportunities after signing the deal, only to have all the members replaced by pay-to-play musicians by Mr. Past It when he realizes that the original Icky Boyfriends are a losing proposition. \u003c/p>\n\u003cp>Swift or no Swift, the crew shot another 29 minutes of footage, and by the time \u003cem>I’m Not Fascinating\u003c/em> was ready to premiere in February of 1996, the movie was no longer a short, but a featurette. That made it difficult to submit it to film festivals, which is how Plotnick usually showed his films to the masses. How were people going to see it?\u003c/p>\n\u003cfigure id=\"attachment_12368533\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1020x710.jpg\" alt='\"Mr. Past It\" drinks a beer' width=\"640\" height=\"445\" class=\"size-large wp-image-12368533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mr.-Past-It-Drinks-A-Beer-in-Fascinating-520x362.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Mr. Past It” drinks a beer. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>I’m Your Icky Boyfriend\u003c/h3>\n\u003cp>They took the film on tour. Plotnick was friends with the agent for the Demolition Doll Rods, the garage punk trio from Detroit, who agreed to put the film on as the opening act for their West Coast tour.\u003c/p>\n\u003cp>“We actually got paid for those shows,” Plotnick said.\u003c/p>\n\u003cp>The band held a “world premiere” for the film on Valentine’s Day at Johnny Depp’s club in Los Angeles, the Viper Room, opening for the Doll Rods and proto-punk trans hero Jayne County. Then they brought it back to San Francisco and showed it at Artists’ Television Access (ATA), with all three showings sold out.\u003c/p>\n\u003cp>“At the time, the ATA said that was the biggest show they ever had,” Plotnick said. “Between shows, Anthony and I couldn’t go outside because we’d be swarmed with people telling us, ‘You’ve got to let us in, you’ve got to let us in.'”\u003c/p>\n\u003cp>The film received positive reviews in both of San Francisco’s weeklies, the \u003cem>SF Weekly\u003c/em> and the \u003cem>Bay Guardian\u003c/em>, with the latter praising it as “a weirdly beautiful spectacle of self-defeat.” \u003c/p>\n\u003cfigure id=\"attachment_12368535\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1020x1209.jpg\" alt=\"Plotnick and Bedard at the 1996 premiere at ATA in San Francisco\" width=\"640\" height=\"759\" class=\"size-large wp-image-12368535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1020x1209.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-800x948.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-768x910.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-1180x1399.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-960x1138.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-240x285.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-375x445.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Bedard-Plotnick-at-INF-ATA-premier-1996-520x616.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Plotnick and Bedard at the 1996 premiere at ATA in San Francisco. \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another short residency at the Mission District club the House of Low Self-Esteem saw hundreds more come out to see the movie. Then the two had the idea to take it on a tour of the East Coast, starting with the New York Underground Film Festival — where it played just hours before a set by jazz saxophonist Pharaoh Sanders at the old Knitting Factory — and later hitting cities like Baltimore and Philadelphia.\u003c/p>\n\u003cp>Plotnick toured with \u003ci>I’m Not Fascinating\u003c/i> all over the west coast, taking it as far as Vancouver, Canada, and later, to galleries in New Zealand. His friend, who purchased VHS tapes for Tower Records, agreed to buy several hundred copies of it for the then-influential record store chain. But finding a place that could properly transfer the Super 8 film to VHS became an ordeal. The VHS tapes the band ended up selling featured a print of the film that didn’t reflect the duo’s standards. And yet, thanks to Tower’s distribution, they still reached an audience.\u003c/p>\n\u003cfigure id=\"attachment_12368534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1020x1797.jpg\" alt=\"The VHS box for 'I'm Not Fascinating'\" width=\"640\" height=\"1128\" class=\"size-large wp-image-12368534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1020x1797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-160x282.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-800x1410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-768x1353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-1180x2079.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-960x1691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-240x423.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-375x661.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box-520x916.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Fascinating-vhs-box.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The VHS box for ‘I’m Not Fascinating.’ \u003ccite>(Photo: Courtesy of Danny Plotnick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Even just a couple of weeks ago, Shannon Shaw from Shannon and the Clams told me that she and her friend Amber from the Violence Creeps found it at a video store when they were teens living in Napa, and became weirdly obsessed with the movie,” Bedard said. “There was a girl, Tamara, who found the movie in a thrift store for a dollar and was so blown away by it that she wound up starting a band called the Icky Girlfriends with these two kids who were in middle school.”\u003c/p>\n\u003cp>Plotnick and Bedard had a high-quality digital version of the film made this year, which finally provided them with a transfer they can proudly share with the world. Plotnick took the film to a film festival in Switzerland last month, and there’s even talk about possibly releasing it on DVD so it can continue inspiring a few and confusing the rest — like it’s always done.\u003c/p>\n\u003cp>“Four years ago the Icky Boyfriends played Goner Fest,” Bedard said. “One of the guys from the Australian band Kitchen Floor came up to me after we played and he’s like, in his accent, ‘Oh man, the Icky Boyfriends movie, mate, so bad, mate. I mean it’s really bad. I mean it’s terrible. I can’t even tell you. I’ve seen it five or six times.’ I didn’t know how to take that.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘I’m Not Fascinating — The Movie!’ screens at the Alamo Drafthouse in San Francisco on Monday, Nov. 21. For tickets and more information, visit the \u003ca href=\"https://drafthouse.com/show/music-monday-im-not-fascinating\" target=\"_blank\" rel=\"noopener\">Alamo Drafthouse website\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Bonus:\u003c/b> Enjoy a recording of the band playing live in San Francisco in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003ci>KQED will be posting all the episodes for \u003cb>Soundbreaking: Stories From The Cutting Edge Of Recorded Music\u003c/b> as they become available online. Viewers will be able to watch them here until Nov. 28\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The fifth episode of \u003ci>Soundbreaking\u003c/i> is all about the beat. If the vocal track is the heart of a song, the rhythm track—the beat—is its body. It is the sonic element that taps into the most primal part of us and makes us want to move. Highlights include:\u003c/p>\n\u003cul>\n\u003cli>Producers The Dream and Tricky Stewart talk about writing and recording Beyonce’s “Single Ladies”\u003c/li>\n\u003cli>The Disco Era: Chic, Donna Summer, and the Bee Gees\u003c/li>\n\u003cli>Post Disco: Blondie, Madonna and the sounds of the 80s\u003c/li>\n\u003c/ul>\n\u003cp>Keep coming to \u003ca href=\"http://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cb>Into The Mix\u003c/b>\u003c/i>\u003c/a> for more episodes!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[http_redir]\u003c/p>\n\u003cp>\u003ci>KQED will be posting all the episodes for \u003cb>Soundbreaking: Stories From The Cutting Edge Of Recorded Music\u003c/b> as they become available online. Viewers will be able to watch them here until Nov. 28\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The fifth episode of \u003ci>Soundbreaking\u003c/i> is all about the beat. If the vocal track is the heart of a song, the rhythm track—the beat—is its body. It is the sonic element that taps into the most primal part of us and makes us want to move. Highlights include:\u003c/p>\n\u003cul>\n\u003cli>Producers The Dream and Tricky Stewart talk about writing and recording Beyonce’s “Single Ladies”\u003c/li>\n\u003cli>The Disco Era: Chic, Donna Summer, and the Bee Gees\u003c/li>\n\u003cli>Post Disco: Blondie, Madonna and the sounds of the 80s\u003c/li>\n\u003c/ul>\n\u003cp>Keep coming to \u003ca href=\"http://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cb>Into The Mix\u003c/b>\u003c/i>\u003c/a> for more episodes!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Death of a Disco Host",
"headTitle": "The Death of a Disco Host | KQED",
"content": "\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Remembering David Mancuso — a social philosopher, a sound guru, a psychedelic humanist and a man who knew which records could move you.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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},
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"filters": [
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]
},
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"restaurantDataById": {},
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"userAgentReducer": {
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"isBot": true
},
"requestOutcomesReducer": {
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}
}
