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"content": "\u003cp>Noise Pop, which began as a teeny, distinctly homegrown-feeling indie rock festival in 1993, has grown over the past decade into one of the Bay Area’s heaviest hitters in terms of promoters, booking the \u003ca href=\"https://ww2.kqed.org/arts/2016/10/17/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and the newly refurbished Swedish American Hall, as well as planning events like the (growing) annual 20th Street Block Party. But perhaps there’s no better indication of how the formerly tiny company has grown than the \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">lineup for the 2017 fest\u003c/a>, the first “phase” of which was rolled out today, Nov. 14.\u003c/p>\n\u003cp>Vince Staples, who sold out two different venues during last year’s fest, returns as a headliner; in 2015, \u003ca href=\"https://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">Noise Pop’s Dawson Ludwig explained to KQED Arts how the fest came to embrace jazz and hip-hop these past few years\u003c/a>. This year’s inclusion of up-and-comer Adia Victoria — known for her “Gothic blues” — as well as Canadian electronic producers BadBadNotGood, known for their collaborations with Tyler, the Creator and Earl Sweatshirt et al., only serves to stretch that umbrella a little bit wider.\u003c/p>\n\u003cfigure id=\"attachment_12345530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-800x450.jpg\" alt=\"Vince Staples performs at the Social Hall in SF during Noise Pop 2016.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vince Staples performs at the Social Hall in SF during Noise Pop 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other headliners from the initial announcement have obvious Bay Area cred: songwriter and multi-instrumentalist Ty Segall, prince of the Bay Area’s garage rock revival, makes an appearance, as do the city’s reigning black metal heads, Deafheaven (who were reportedly great sports in the rain at TIMF, for what that’s worth). A few more offhand recommendations from farther down the poster: old-school melodic noise rock from Blonde Redhead; terrifyingly smart hip-hop from clipping. (featuring Oakland native and \u003cem>Hamilton\u003c/em> star Daveed Diggs); the gleeful, defiant queer punk of PWR BTTM; and hazy, synthy dream-folk from Emma Ruth Rundle.\u003c/p>\n\u003cp>The festival runs Feb. 16–26, 2017. Early-bird badges ($145 and up)\u003ca href=\"https://www.ticketfly.com/purchase/event/1252843?utm_medium=bks\" target=\"_blank\" rel=\"noopener\"> go on sale here\u003c/a> Nov. 14; tickets for individual shows go on sale this Friday, Nov. 18, at 9am. For a full lineup — or, rather, the first chunk of at least three or four more announcements — \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Clipping., PWR BTTM, Blonde Redhead and Emma Ruth Rundle round out our early recommendations for the 2017 festival, which kicks off in February. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noise Pop, which began as a teeny, distinctly homegrown-feeling indie rock festival in 1993, has grown over the past decade into one of the Bay Area’s heaviest hitters in terms of promoters, booking the \u003ca href=\"https://ww2.kqed.org/arts/2016/10/17/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and the newly refurbished Swedish American Hall, as well as planning events like the (growing) annual 20th Street Block Party. But perhaps there’s no better indication of how the formerly tiny company has grown than the \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">lineup for the 2017 fest\u003c/a>, the first “phase” of which was rolled out today, Nov. 14.\u003c/p>\n\u003cp>Vince Staples, who sold out two different venues during last year’s fest, returns as a headliner; in 2015, \u003ca href=\"https://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">Noise Pop’s Dawson Ludwig explained to KQED Arts how the fest came to embrace jazz and hip-hop these past few years\u003c/a>. This year’s inclusion of up-and-comer Adia Victoria — known for her “Gothic blues” — as well as Canadian electronic producers BadBadNotGood, known for their collaborations with Tyler, the Creator and Earl Sweatshirt et al., only serves to stretch that umbrella a little bit wider.\u003c/p>\n\u003cfigure id=\"attachment_12345530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-800x450.jpg\" alt=\"Vince Staples performs at the Social Hall in SF during Noise Pop 2016.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/VinceStaples-800x450-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vince Staples performs at the Social Hall in SF during Noise Pop 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other headliners from the initial announcement have obvious Bay Area cred: songwriter and multi-instrumentalist Ty Segall, prince of the Bay Area’s garage rock revival, makes an appearance, as do the city’s reigning black metal heads, Deafheaven (who were reportedly great sports in the rain at TIMF, for what that’s worth). A few more offhand recommendations from farther down the poster: old-school melodic noise rock from Blonde Redhead; terrifyingly smart hip-hop from clipping. (featuring Oakland native and \u003cem>Hamilton\u003c/em> star Daveed Diggs); the gleeful, defiant queer punk of PWR BTTM; and hazy, synthy dream-folk from Emma Ruth Rundle.\u003c/p>\n\u003cp>The festival runs Feb. 16–26, 2017. Early-bird badges ($145 and up)\u003ca href=\"https://www.ticketfly.com/purchase/event/1252843?utm_medium=bks\" target=\"_blank\" rel=\"noopener\"> go on sale here\u003c/a> Nov. 14; tickets for individual shows go on sale this Friday, Nov. 18, at 9am. For a full lineup — or, rather, the first chunk of at least three or four more announcements — \u003ca href=\"http://lineup.noisepop.com/\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God",
"headTitle": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God | KQED",
"content": "\u003cp>It sounds like the plot to a Paul Thomas Anderson movie: a cult of Southern California surfers worships LSD as a deity in the early ’60s, becoming so obsessed with spreading psychedelics to the masses that they move their families in together and form a church.\u003c/p>\n\u003cp>Church members engineer an international smuggling ring to bring hash, pot, and acid back from sources in Europe and Afghanistan. They trick out their vans and surfboards with secret compartments to hide the contraband from border agents. They launder their money through an art gallery in Laguna Beach, build an LSD lab in Palm Springs, and are ultimately responsible for distributing over 100 million hits of acid.\u003c/p>\n\u003cp>What’s being described here is no fiction. It’s the very real — and very colorful — story of The Brotherhood of Eternal Love, the subject of \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Orange Sunshine\u003c/em>\u003c/a>, an excellent new documentary by director William A. Kirkley. The movie, which was a breakout hit at SXSW this year, gets its \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">theatrical premiere in San Francisco on Nov. 17 at Slim’s\u003c/a>. The event includes a performance by \u003ca href=\"http://mattcosta.com/\" target=\"_blank\" rel=\"noopener\">Matt Costa\u003c/a>, who wrote the film’s wonderfully lysergic soundtrack.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j-zvY7I0BY0\u003c/p>\n\u003cp>At their core, the Brotherhood weren’t terribly different from other seekers of their era. They responded to the violence and chaos of the Vietnam War abroad and turbulent race relations at home by following psychedelic guru Timothy Leary’s advice to “turn on, tune in, and drop out.” They yearned for the higher planes of connection proselytized by the musicians, artists, and academics around them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difference, however, was the fervor behind the Brotherhood’s beliefs. Theirs was a single-minded intensity that put their safety and that of their families second to a larger mission of ensuring everyone, countrywide, had access to affordable psychedelics.\u003c/p>\n\u003cfigure id=\"attachment_12323274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12323274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg\" alt=\"Mike and Carol Randall, members of the Brotherhood\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1920x1290.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike and Carol Randall, members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they made fake passports for themselves and fake school transcripts for their kids. They smuggled drugs from countries where punishment for such infractions was death. They moved from their Laguna Beach hub into hidden canyons to evade the law. They even engineered a jailbreak for Leary after he was incarcerated in San Luis Obispo for minor drug possession.\u003c/p>\n\u003cp>The influence of this resourceful “Hippie Mafia” grew so strong that the acid they widely distributed (including the ubiquitous Orange Sunshine strain, from which the documentary takes its title) ended up in the hands of Steve Jobs and the Beatles.\u003c/p>\n\u003cp>Just when you think you’ve heard all the crazy cult stories the ’60s had to offer,\u003cem> Orange Sunshine\u003c/em> tells a thrilling tale with international intrigue. Kirkley, who grew up in Laguna Beach, \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">writes in a director’s statement\u003c/a> that he was inspired to make the film after hearing rumors of these psychedelic outlaws for years. He wanted to confirm both their existence and Orange County’s roots as the site of a massive counter-cultural revolution, given the region’s conservative reputation today. But it took years for these former fugitives to agree to show their faces on camera, which is perhaps why this story hasn’t been widely told outside of the\u003ca href=\"https://www.amazon.com/dp/B004RCNVMG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\"> 2011 book \u003cem>Orange Sunshine\u003c/em>\u003c/a> by Nick Schou (who also wrote articles about the group for \u003cem>OC Weekly\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12344886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg\" alt=\"Wendy Bevan, a Brotherhood member, in the '70s.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg 1404w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Bevan, a Brotherhood member, in the ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirkley shapes \u003cem>Orange Sunshine\u003c/em>’s narrative through interviews with the surviving members of the Brotherhood — and the law enforcement officials who pursued them — as well as archival photos and newsreel footage. He also uses beautifully-shot reenactments that maintain the amber glow of the older material. Scripted scenes of Brotherhood members in their teens and twenties almost look like home movies, thanks to Kirkley’s decision to shoot them on Super 8 film.\u003c/p>\n\u003cp>Unlike \u003cem>The Source Family\u003c/em>, another excellent documentary about the rise of a stoned spiritual cult from the ’60s, \u003cem>Orange Sunshine\u003c/em> doesn’t explore how the actions of the Brotherhood founders trickled down into the lives of their children, which is an unfortunate and conspicuous omission. Being raised around so much acid and operating under so many different aliases must have had an effect on the kids shown running around in old photos.\u003c/p>\n\u003cfigure id=\"attachment_12344887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344887\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg\" alt=\"John and Carol Griggs, some of the founders of the Brotherhood\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John and Carol Griggs, founding members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>No, the losses described in the documentary are mainly between the adults, whose love for one another is evident even all these decades later. Kirkley writes that the movie is fundamentally about “how we discover and define what is important; of social change in its infancy; of the choices people make, losses suffered and love forged.”\u003c/p>\n\u003cp>Costa’s music provides another narrative thread. Like the cinematography, it gives the story a golden ’60s patina. In an email from Argentina, where he’s working on a new record, the Huntington Beach songwriter tells me that before working on the film, he’d only heard of the Brotherhood from \u003cem>OC Weekly\u003c/em> articles.\u003c/p>\n\u003cp>When Kirkley asked Costa to contribute some songs to the documentary, though, the music poured out of him. “Three songs turned into 40,” Costa says. The soundtrack swings between jazzier tunes influenced by Art Blakey and jangly rock ‘n’ roll in the realm of psych-folksters Rodriguez and Allah-Las.\u003c/p>\n\u003cp>https://vimeo.com/188202735\u003c/p>\n\u003cp>Costa grew up skateboarding more than surfing, but says he sees the connection between psychoactive drugs, surfing, and art as “just shredding the BS.”\u003c/p>\n\u003cp>“If you seek something righteous, whether you seclude yourself in a monastery or you take LSD and go surfing,” he says, “the goal is enlightenment rather than escapism.”\u003c/p>\n\u003cp>In the end, the Brotherhood’s path comes off in \u003cem>Orange Sunshine\u003c/em> as equal parts societal withdrawal and search for enlightenment. In attempting to escape the harsh realities of their era — as well as international drug laws — these radical hippies lived in an alternate universe of their own making. Theirs is a vivid world that was just made to be projected on the big screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A screening of ‘Orange Sunshine’ with a performance by Matt Costa takes place on Thursday, Nov. 17, at Slim’s. \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A buzzy new documentary swirls together Southern California music and surf culture, the story of a fascinating cult -- oh, and whole lot of psychedelics. ",
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"title": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God | KQED",
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"headline": "Retracing the Steps of Psychedelic Outlaws on an LSD Mission From God",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It sounds like the plot to a Paul Thomas Anderson movie: a cult of Southern California surfers worships LSD as a deity in the early ’60s, becoming so obsessed with spreading psychedelics to the masses that they move their families in together and form a church.\u003c/p>\n\u003cp>Church members engineer an international smuggling ring to bring hash, pot, and acid back from sources in Europe and Afghanistan. They trick out their vans and surfboards with secret compartments to hide the contraband from border agents. They launder their money through an art gallery in Laguna Beach, build an LSD lab in Palm Springs, and are ultimately responsible for distributing over 100 million hits of acid.\u003c/p>\n\u003cp>What’s being described here is no fiction. It’s the very real — and very colorful — story of The Brotherhood of Eternal Love, the subject of \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Orange Sunshine\u003c/em>\u003c/a>, an excellent new documentary by director William A. Kirkley. The movie, which was a breakout hit at SXSW this year, gets its \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">theatrical premiere in San Francisco on Nov. 17 at Slim’s\u003c/a>. The event includes a performance by \u003ca href=\"http://mattcosta.com/\" target=\"_blank\" rel=\"noopener\">Matt Costa\u003c/a>, who wrote the film’s wonderfully lysergic soundtrack.\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/j-zvY7I0BY0'\n title='//www.youtube.com/embed/j-zvY7I0BY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At their core, the Brotherhood weren’t terribly different from other seekers of their era. They responded to the violence and chaos of the Vietnam War abroad and turbulent race relations at home by following psychedelic guru Timothy Leary’s advice to “turn on, tune in, and drop out.” They yearned for the higher planes of connection proselytized by the musicians, artists, and academics around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difference, however, was the fervor behind the Brotherhood’s beliefs. Theirs was a single-minded intensity that put their safety and that of their families second to a larger mission of ensuring everyone, countrywide, had access to affordable psychedelics.\u003c/p>\n\u003cfigure id=\"attachment_12323274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12323274\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg\" alt=\"Mike and Carol Randall, members of the Brotherhood\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1920x1290.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Mike-Carol-Randall-past-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike and Carol Randall, members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>To that end, they made fake passports for themselves and fake school transcripts for their kids. They smuggled drugs from countries where punishment for such infractions was death. They moved from their Laguna Beach hub into hidden canyons to evade the law. They even engineered a jailbreak for Leary after he was incarcerated in San Luis Obispo for minor drug possession.\u003c/p>\n\u003cp>The influence of this resourceful “Hippie Mafia” grew so strong that the acid they widely distributed (including the ubiquitous Orange Sunshine strain, from which the documentary takes its title) ended up in the hands of Steve Jobs and the Beatles.\u003c/p>\n\u003cp>Just when you think you’ve heard all the crazy cult stories the ’60s had to offer,\u003cem> Orange Sunshine\u003c/em> tells a thrilling tale with international intrigue. Kirkley, who grew up in Laguna Beach, \u003ca href=\"http://www.orangesunshinemovie.com/\" target=\"_blank\" rel=\"noopener\">writes in a director’s statement\u003c/a> that he was inspired to make the film after hearing rumors of these psychedelic outlaws for years. He wanted to confirm both their existence and Orange County’s roots as the site of a massive counter-cultural revolution, given the region’s conservative reputation today. But it took years for these former fugitives to agree to show their faces on camera, which is perhaps why this story hasn’t been widely told outside of the\u003ca href=\"https://www.amazon.com/dp/B004RCNVMG/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1\" target=\"_blank\" rel=\"noopener\"> 2011 book \u003cem>Orange Sunshine\u003c/em>\u003c/a> by Nick Schou (who also wrote articles about the group for \u003cem>OC Weekly\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12344886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg\" alt=\"Wendy Bevan, a Brotherhood member, in the '70s.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wendy-Bevan-past.jpg 1404w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wendy Bevan, a Brotherhood member, in the ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirkley shapes \u003cem>Orange Sunshine\u003c/em>’s narrative through interviews with the surviving members of the Brotherhood — and the law enforcement officials who pursued them — as well as archival photos and newsreel footage. He also uses beautifully-shot reenactments that maintain the amber glow of the older material. Scripted scenes of Brotherhood members in their teens and twenties almost look like home movies, thanks to Kirkley’s decision to shoot them on Super 8 film.\u003c/p>\n\u003cp>Unlike \u003cem>The Source Family\u003c/em>, another excellent documentary about the rise of a stoned spiritual cult from the ’60s, \u003cem>Orange Sunshine\u003c/em> doesn’t explore how the actions of the Brotherhood founders trickled down into the lives of their children, which is an unfortunate and conspicuous omission. Being raised around so much acid and operating under so many different aliases must have had an effect on the kids shown running around in old photos.\u003c/p>\n\u003cfigure id=\"attachment_12344887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12344887\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg\" alt=\"John and Carol Griggs, some of the founders of the Brotherhood\" width=\"800\" height=\"1085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-800x1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-768x1042.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1020x1384.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1920x2605.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-1180x1601.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-960x1303.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-240x326.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-375x509.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/John-Carol-Griggs-past-520x706.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John and Carol Griggs, founding members of the Brotherhood.\u003c/figcaption>\u003c/figure>\n\u003cp>No, the losses described in the documentary are mainly between the adults, whose love for one another is evident even all these decades later. Kirkley writes that the movie is fundamentally about “how we discover and define what is important; of social change in its infancy; of the choices people make, losses suffered and love forged.”\u003c/p>\n\u003cp>Costa’s music provides another narrative thread. Like the cinematography, it gives the story a golden ’60s patina. In an email from Argentina, where he’s working on a new record, the Huntington Beach songwriter tells me that before working on the film, he’d only heard of the Brotherhood from \u003cem>OC Weekly\u003c/em> articles.\u003c/p>\n\u003cp>When Kirkley asked Costa to contribute some songs to the documentary, though, the music poured out of him. “Three songs turned into 40,” Costa says. The soundtrack swings between jazzier tunes influenced by Art Blakey and jangly rock ‘n’ roll in the realm of psych-folksters Rodriguez and Allah-Las.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Costa grew up skateboarding more than surfing, but says he sees the connection between psychoactive drugs, surfing, and art as “just shredding the BS.”\u003c/p>\n\u003cp>“If you seek something righteous, whether you seclude yourself in a monastery or you take LSD and go surfing,” he says, “the goal is enlightenment rather than escapism.”\u003c/p>\n\u003cp>In the end, the Brotherhood’s path comes off in \u003cem>Orange Sunshine\u003c/em> as equal parts societal withdrawal and search for enlightenment. In attempting to escape the harsh realities of their era — as well as international drug laws — these radical hippies lived in an alternate universe of their own making. Theirs is a vivid world that was just made to be projected on the big screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A screening of ‘Orange Sunshine’ with a performance by Matt Costa takes place on Thursday, Nov. 17, at Slim’s. \u003ca href=\"http://www.slimspresents.com/event/an-evening-of-orange-sunshine-with-matt-costa-and-band-slims/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Controversial Doc 'Nanook' Gets a Live Soundtrack",
"headTitle": "Now Playing! Controversial Doc ‘Nanook’ Gets a Live Soundtrack | KQED",
"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12323262\" 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/Nanook_of_the_north-1020x1520.jpg\" alt=\"Promotional poster for 'Nanook of the North,' directed by Robert J. Flaherty, 1922.\" width=\"640\" height=\"954\" class=\"size-large wp-image-12323262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-960x1431.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-520x775.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north.jpg 1028w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Promotional poster for ‘Nanook of the North,’ directed by Robert J. Flaherty, 1922. \u003ccite>(Source: Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Flaherty invented the modern documentary in 1922 after returning from his second extended filmmaking sojourn to the Canadian Arctic. His initial footage went up in flames while he was at his editing table — early film stock was notoriously flammable — but, surprisingly, he wasn’t devastated: He realized the images weren’t especially gripping, in part because they didn’t add up to more than a travelogue. For his do-over, Flaherty seized on the strategies and techniques of narrative films, building his movie around an exotic but recognizable (read: universal) central character. He paired up with a respected hunter named Nanook and other Inuits (Eskimos, to your grandfather), and staged and/or captured a variety of hunting and igloo-building scenes. \u003cem>Nanook of the North\u003c/em> became a global sensation, to such a degree that the news of Nanook’s subsequent death from starvation in 1924 ran in newspapers around the world.\u003c/p>\n\u003cp>Nine decades on, \u003cem>Nanook of the North\u003c/em> retains its fascination, charm, human interest and beauty. It also continues to provoke debates about reenactments posing as reality and shaping truth to accommodate the demands of a story. Controversies about cultural appropriation routinely dog documentaries, although to be clear \u003ci>Nanook\u003c/i>’s making-of saga is one of collaboration, not exploitation. Nonetheless, an element of reclaiming one’s heritage is embedded in Inuit throat-singer Tanya Tagaq’s live accompaniment of Flaherty’s silent classic. Tagaq delivers her one-of-a-kind performance (backed by an assortment of musicians) on Thursday, Nov. 17, at 8pm at \u003ca href=\"https://www.ybca.org/whats-on/tanya-tagaq\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>. Tagaq also discusses her personal background and inspiration on Wednesday, Nov. 16, at 6:30pm, and performs music from her new album Retribution on Friday, Nov. 18, at 10pm. \u003ca href=\"https://www.ybca.org/whats-on/tanya-tagaq\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Inuit singer Tanya Tagaq’s live accompaniment of Robert Flaherty’s classic silent documentary reclaims, in part, her own heritage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12323262\" 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/Nanook_of_the_north-1020x1520.jpg\" alt=\"Promotional poster for 'Nanook of the North,' directed by Robert J. Flaherty, 1922.\" width=\"640\" height=\"954\" class=\"size-large wp-image-12323262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-960x1431.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north-520x775.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Nanook_of_the_north.jpg 1028w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Promotional poster for ‘Nanook of the North,’ directed by Robert J. Flaherty, 1922. \u003ccite>(Source: Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robert Flaherty invented the modern documentary in 1922 after returning from his second extended filmmaking sojourn to the Canadian Arctic. His initial footage went up in flames while he was at his editing table — early film stock was notoriously flammable — but, surprisingly, he wasn’t devastated: He realized the images weren’t especially gripping, in part because they didn’t add up to more than a travelogue. For his do-over, Flaherty seized on the strategies and techniques of narrative films, building his movie around an exotic but recognizable (read: universal) central character. He paired up with a respected hunter named Nanook and other Inuits (Eskimos, to your grandfather), and staged and/or captured a variety of hunting and igloo-building scenes. \u003cem>Nanook of the North\u003c/em> became a global sensation, to such a degree that the news of Nanook’s subsequent death from starvation in 1924 ran in newspapers around the world.\u003c/p>\n\u003cp>Nine decades on, \u003cem>Nanook of the North\u003c/em> retains its fascination, charm, human interest and beauty. It also continues to provoke debates about reenactments posing as reality and shaping truth to accommodate the demands of a story. Controversies about cultural appropriation routinely dog documentaries, although to be clear \u003ci>Nanook\u003c/i>’s making-of saga is one of collaboration, not exploitation. Nonetheless, an element of reclaiming one’s heritage is embedded in Inuit throat-singer Tanya Tagaq’s live accompaniment of Flaherty’s silent classic. Tagaq delivers her one-of-a-kind performance (backed by an assortment of musicians) on Thursday, Nov. 17, at 8pm at \u003ca href=\"https://www.ybca.org/whats-on/tanya-tagaq\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a>. Tagaq also discusses her personal background and inspiration on Wednesday, Nov. 16, at 6:30pm, and performs music from her new album Retribution on Friday, Nov. 18, at 10pm. \u003ca href=\"https://www.ybca.org/whats-on/tanya-tagaq\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Leon Russell Dies; Southern Rock Legend was 74",
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"content": "\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37dw2r45Xzg\u003c/p>\n\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/37dw2r45Xzg'\n title='//www.youtube.com/embed/37dw2r45Xzg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'We've Always Had a Seat at the Table': Solange on Conversations That Heal",
"headTitle": "‘We’ve Always Had a Seat at the Table’: Solange on Conversations That Heal | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S0qrinhNnOM\u003c/p>\n\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" 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/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\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/S0qrinhNnOM'\n title='//www.youtube.com/embed/S0qrinhNnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\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/YTtrnDbOQAU'\n title='//www.youtube.com/embed/YTtrnDbOQAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" 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/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2011, San Francisco Symphony violinist Kum Mo Kim received an unexpected gift in the mail from former Symphony music director Herbert Blomstedt. It was a photograph, one Kim had never seen before. Dated Aug. 16, 1953, and published in the New York \u003cem>Herald Tribune\u003c/em>, it featured two Tanglewood students sitting at the feet of Charles Munch, conductor of the Boston Symphony.\u003c/p>\n\u003cp>One of these was a 26-year-old Blomstedt. The other was a young man Kim recognized immediately: her father, John S. Kim, a musician who would go on to alter the course of musical history in Asia, with ripple effects felt worldwide.\u003c/p>\n\u003cp>This week, as the San Francisco Symphony begins its first tour of Kim’s native Korea, one of the most dramatic East-meets-West stories in the music world remains largely unknown.\u003c/p>\n\u003ch3>A family threatened\u003c/h3>\n\u003cp>The idea of Asian musicians winning classical competitions and proliferating institutions of Western music is hardly novel. Korean pianist Seong-Jin Cho, for just one instance, made his San Francisco Symphony debut on Nov. 6 after winning the prestigious International Chopin competition in Warsaw. He is now a superstar.\u003c/p>\n\u003cp>But how did Korea become a classical music powerhouse?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re a very passionate people,” says Kum Mo Kim, who’s been with the Symphony for 41 years. “But I must give credit to my father, John S. Kim. He was the one who brought classical music to Korea.”\u003c/p>\n\u003cfigure id=\"attachment_12322861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/IMG_0218.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12322861\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/IMG_0218-800x618.jpg\" alt=\"The Tanglewood class of 1953, including John S. Kim (seated, left) and Herbert Blomstedt (seated, right). \" width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1920x1484.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1180x912.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tanglewood class of 1953, including John S. Kim (seated, left) and Herbert Blomstedt (seated, right). \u003ccite>( From the Aug. 16, 1953 issue of the New York Herald Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, John S. Kim (the ‘S’ stands for ‘Seong Ryo’, his Korean name) founded the Seoul National Philharmonic, the first symphony orchestra in Korea. But as the Korean war ravaged the country a few years later, his family of musicians — not to mention his actual family — were under serious threat.\u003c/p>\n\u003cp>“My birthplace, Seoul, was a dangerous place,” says Kim, who first picked up the violin at age 5. “My mother and father pleaded with the Navy Admiral of Korea to protect the musicians of the symphony by providing refuge for them in Busan, just outside of Seoul. My mother’s best friend’s husband happened to be this Navy Admiral, and he offered them a hotel.”\u003c/p>\n\u003cp>Kim still recalls living all together in that complex, her family alongside all the orchestra musicians and choir members. Whether it was the close quarters or simply a profound love of music, John S. Kim and his orchestra never ceased their musical activities. They planned an outdoor concert, a performance of Beethoven’s Ninth Symphony, in Busan. And of all people and places, U.S. Vice President Alben W. Barkley (1949-1953) was in town.\u003c/p>\n\u003cp>He could not have expected what was to come.\u003c/p>\n\u003ch3>‘He never forgot my father’\u003c/h3>\n\u003cp>“Initially, Barkley laughed. ‘A classical music concert in this country? During the war?’ He must have had very low expectations,” Kim says. “But he was totally transformed by the end of the Beethoven that my father conducted.” According to the story Kim’s been told, “Barkley then contacted Washington and said, ‘I found this talented guy in Korea. We need to bring him to America, and sponsor him to study.’ And so the American government invited my father to come to this country.”\u003c/p>\n\u003cp>John S. Kim went on to study with Eugene Ormandy in Philadelphia and then with Leonard Bernstein in New York, where he was given a backstage pass to all concerts and rehearsals; he absorbed as much as he could. Masterclasses at Tanglewood followed. Then, from a large pool of students, John S. Kim and Herbert Blomstedt were selected to conduct a concert together.\u003c/p>\n\u003cp>More than 30 years later, in 1985, Blomstedt became the music director of the San Francisco Symphony, and realized who Kum Mo Kim was. “He never forgot my father,” says Kim. “He would always ask me, very warmly, about him — ‘How is your father doing? Please say hello for me!’”\u003c/p>\n\u003cp>Following the example of his teacher, Bernstein, John S. Kim created educational musical programs for the Korean public, and held competitions to raise the national level of playing of his homeland.\u003c/p>\n\u003cp>Meanwhile, his daughter grew up an American — she attended the University of Michigan, then Juilliard, before joining the San Francisco Symphony in 1975.\u003c/p>\n\u003ch3>Returning to Korea\u003c/h3>\n\u003cp>“My father really dedicated his life to the growth of classical music in his country. When people find out I’m his daughter, they’re amazed,” says Kim. “His name is legendary in Korea. He may not have had the most advanced conducting technique, but he loved music, and with his charisma and passion, he was somehow able to bring that out of his orchestra. Maybe that is what Vice President Barkley fell in love with.”\u003c/p>\n\u003cp>While interest in classical music is on a meteoric trajectory in Asia, the best talents are still trained in the West. Musical prodigies like Lang Lang, Yuja Wang, Han-na Chang, and Kyung Wha Chung — Kim’s best friend for over 50 years — all received North American training before becoming household names. However, Kim sees the tide turning.\u003c/p>\n\u003cfigure id=\"attachment_12322868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12322868\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-800x1200.jpg\" alt=\"Kum Mo Kim\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kum Mo Kim\u003c/figcaption>\u003c/figure>\n\u003cp>“The technique is all there, but the feeling and understanding of music still needs to age. It will come,” she says. “Korea and China and their governments are very aggressive in their support of the art form. I think this is why we do well at competitions. America is lagging behind because it is not supporting the arts — it’s cutting music and arts from the schools. I’m afraid for what will happen in the future, but music will survive. There is nothing like it.”\u003c/p>\n\u003cp>In her four decades with the San Francisco Symphony, Kum Mo Kim has seen and heard it all — from the music directorships of Seiji Ozawa all the way through Michael Tilson Thomas, the stars of today and yesterday. Through it all, she’s developed a belief that music can overcome challenges that seem insurmountable.\u003c/p>\n\u003cp>“My father used to practice violin under a quilt because his parents didn’t want him to become a musician, but he did the best he could with his talent. And look at Korea now,” she says.\u003c/p>\n\u003cp>“My greatest blessing has been to play in this orchestra. I spent years just inches from the great artists coming through every week. I’ve considered retiring twice, but my job is just too good. And I’m just very happy that I now, finally, get to bring my own orchestra to my hometown.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>More information about the San Francisco Symphony’s current tour of Asia can be found \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-SFS-Asia-Tour-Nov-2016.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re a very passionate people,” says Kum Mo Kim, who’s been with the Symphony for 41 years. “But I must give credit to my father, John S. Kim. He was the one who brought classical music to Korea.”\u003c/p>\n\u003cfigure id=\"attachment_12322861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/IMG_0218.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12322861\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/IMG_0218-800x618.jpg\" alt=\"The Tanglewood class of 1953, including John S. Kim (seated, left) and Herbert Blomstedt (seated, right). \" width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1920x1484.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-1180x912.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/IMG_0218-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tanglewood class of 1953, including John S. Kim (seated, left) and Herbert Blomstedt (seated, right). \u003ccite>( From the Aug. 16, 1953 issue of the New York Herald Tribune)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, John S. Kim (the ‘S’ stands for ‘Seong Ryo’, his Korean name) founded the Seoul National Philharmonic, the first symphony orchestra in Korea. But as the Korean war ravaged the country a few years later, his family of musicians — not to mention his actual family — were under serious threat.\u003c/p>\n\u003cp>“My birthplace, Seoul, was a dangerous place,” says Kim, who first picked up the violin at age 5. “My mother and father pleaded with the Navy Admiral of Korea to protect the musicians of the symphony by providing refuge for them in Busan, just outside of Seoul. My mother’s best friend’s husband happened to be this Navy Admiral, and he offered them a hotel.”\u003c/p>\n\u003cp>Kim still recalls living all together in that complex, her family alongside all the orchestra musicians and choir members. Whether it was the close quarters or simply a profound love of music, John S. Kim and his orchestra never ceased their musical activities. They planned an outdoor concert, a performance of Beethoven’s Ninth Symphony, in Busan. And of all people and places, U.S. Vice President Alben W. Barkley (1949-1953) was in town.\u003c/p>\n\u003cp>He could not have expected what was to come.\u003c/p>\n\u003ch3>‘He never forgot my father’\u003c/h3>\n\u003cp>“Initially, Barkley laughed. ‘A classical music concert in this country? During the war?’ He must have had very low expectations,” Kim says. “But he was totally transformed by the end of the Beethoven that my father conducted.” According to the story Kim’s been told, “Barkley then contacted Washington and said, ‘I found this talented guy in Korea. We need to bring him to America, and sponsor him to study.’ And so the American government invited my father to come to this country.”\u003c/p>\n\u003cp>John S. Kim went on to study with Eugene Ormandy in Philadelphia and then with Leonard Bernstein in New York, where he was given a backstage pass to all concerts and rehearsals; he absorbed as much as he could. Masterclasses at Tanglewood followed. Then, from a large pool of students, John S. Kim and Herbert Blomstedt were selected to conduct a concert together.\u003c/p>\n\u003cp>More than 30 years later, in 1985, Blomstedt became the music director of the San Francisco Symphony, and realized who Kum Mo Kim was. “He never forgot my father,” says Kim. “He would always ask me, very warmly, about him — ‘How is your father doing? Please say hello for me!’”\u003c/p>\n\u003cp>Following the example of his teacher, Bernstein, John S. Kim created educational musical programs for the Korean public, and held competitions to raise the national level of playing of his homeland.\u003c/p>\n\u003cp>Meanwhile, his daughter grew up an American — she attended the University of Michigan, then Juilliard, before joining the San Francisco Symphony in 1975.\u003c/p>\n\u003ch3>Returning to Korea\u003c/h3>\n\u003cp>“My father really dedicated his life to the growth of classical music in his country. When people find out I’m his daughter, they’re amazed,” says Kim. “His name is legendary in Korea. He may not have had the most advanced conducting technique, but he loved music, and with his charisma and passion, he was somehow able to bring that out of his orchestra. Maybe that is what Vice President Barkley fell in love with.”\u003c/p>\n\u003cp>While interest in classical music is on a meteoric trajectory in Asia, the best talents are still trained in the West. Musical prodigies like Lang Lang, Yuja Wang, Han-na Chang, and Kyung Wha Chung — Kim’s best friend for over 50 years — all received North American training before becoming household names. However, Kim sees the tide turning.\u003c/p>\n\u003cfigure id=\"attachment_12322868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12322868\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-800x1200.jpg\" alt=\"Kum Mo Kim\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kum-Mo-Kim-2-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kum Mo Kim\u003c/figcaption>\u003c/figure>\n\u003cp>“The technique is all there, but the feeling and understanding of music still needs to age. It will come,” she says. “Korea and China and their governments are very aggressive in their support of the art form. I think this is why we do well at competitions. America is lagging behind because it is not supporting the arts — it’s cutting music and arts from the schools. I’m afraid for what will happen in the future, but music will survive. There is nothing like it.”\u003c/p>\n\u003cp>In her four decades with the San Francisco Symphony, Kum Mo Kim has seen and heard it all — from the music directorships of Seiji Ozawa all the way through Michael Tilson Thomas, the stars of today and yesterday. Through it all, she’s developed a belief that music can overcome challenges that seem insurmountable.\u003c/p>\n\u003cp>“My father used to practice violin under a quilt because his parents didn’t want him to become a musician, but he did the best he could with his talent. And look at Korea now,” she says.\u003c/p>\n\u003cp>“My greatest blessing has been to play in this orchestra. I spent years just inches from the great artists coming through every week. I’ve considered retiring twice, but my job is just too good. And I’m just very happy that I now, finally, get to bring my own orchestra to my hometown.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>More information about the San Francisco Symphony’s current tour of Asia can be found \u003ca href=\"https://www.sfsymphony.org/About-Us/Press-Room/Press-Releases/MTT-SFS-Asia-Tour-Nov-2016.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leonard Cohen, the hugely influential Canadian songwriter, singer and author, has died.\u003c/p>\n\u003cp>“It is with profound sorrow we report that legendary poet, songwriter and artist, Leonard Cohen has passed away,” reads \u003ca href=\"https://www.facebook.com/leonardcohen/posts/10154767870839644?match=bGVvbmFyZCBjb2hlbg%3D%3D\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> on Cohen’s Facebook page. “We have lost one of music’s most revered and prolific visionaries. A memorial will take place in Los Angeles at a later date. The family requests privacy during their time of grief.” \u003c/p>\n\u003cp>No cause of death was given.\u003c/p>\n\u003cp>Cohen’s decades-long career spawned songs such as “So Long, Marianne,” “Suzanne,” “Bird on the Wire,” and “Hallelujah,” the latter a massive hit for Jeff Buckley. Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> was released last month.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svitEEpI07E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cohen emerged as a poetic voice among the burgeoning songwriter scene in the 1960s, after publishing \u003cem>Flowers for Hitler\u003c/em>, a book of poetry, and the novels \u003cem>The Favourite Game\u003c/em> and \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>That same poetry found its way into his songs, sung in a plaintive vocal style, often with flamenco-styled guitar and backed by a chorus. Upon visiting New York in the mid-1960s, Cohen fell in with a crowd that included the Velvet Underground and Judy Collins, who supported his songwriting and recording. Albums such as \u003cem>Songs From Leonard Cohen\u003c/em> and \u003cem>Songs From a Room\u003c/em> followed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YrLk4vdY28Q\u003c/p>\n\u003cp>Through the 1970s and 1980s, Cohen’s albums continued to contribute to the great singer-songwriter songbook. In 1984, Cohen recorded a lyrical ode called “Hallelujah”; his label at the time was unsupportive, however, and it wasn’t until Jeff Buckley’s 1994 version that the song became ubiquitous: at funerals, weddings, in movies and more.\u003c/p>\n\u003cp>The Canadian-born Cohen turned to Zen in the mid-’90s and disappeared from the road, touring only when it was discovered that his longtime manager had embezzled $5 million from his retirement account. Needing the ticket revenue, Cohen set out on a series of well-received tours; the shows were a remarkable success. This year, reviews for Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> were largely positive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.newyorker.com/magazine/2016/10/17/leonard-cohen-makes-it-darker\" target=\"_blank\" rel=\"noopener\">in-depth profile for the \u003cem>New Yorker\u003c/em>\u003c/a> that ran last month, Cohen told the magazine: “I am ready to die. I hope it’s not too uncomfortable. That’s about it for me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cohen emerged as a poetic voice among the burgeoning songwriter scene in the 1960s, after publishing \u003cem>Flowers for Hitler\u003c/em>, a book of poetry, and the novels \u003cem>The Favourite Game\u003c/em> and \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>That same poetry found its way into his songs, sung in a plaintive vocal style, often with flamenco-styled guitar and backed by a chorus. Upon visiting New York in the mid-1960s, Cohen fell in with a crowd that included the Velvet Underground and Judy Collins, who supported his songwriting and recording. Albums such as \u003cem>Songs From Leonard Cohen\u003c/em> and \u003cem>Songs From a Room\u003c/em> followed.\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/YrLk4vdY28Q'\n title='//www.youtube.com/embed/YrLk4vdY28Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the 1970s and 1980s, Cohen’s albums continued to contribute to the great singer-songwriter songbook. In 1984, Cohen recorded a lyrical ode called “Hallelujah”; his label at the time was unsupportive, however, and it wasn’t until Jeff Buckley’s 1994 version that the song became ubiquitous: at funerals, weddings, in movies and more.\u003c/p>\n\u003cp>The Canadian-born Cohen turned to Zen in the mid-’90s and disappeared from the road, touring only when it was discovered that his longtime manager had embezzled $5 million from his retirement account. Needing the ticket revenue, Cohen set out on a series of well-received tours; the shows were a remarkable success. This year, reviews for Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> were largely positive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.newyorker.com/magazine/2016/10/17/leonard-cohen-makes-it-darker\" target=\"_blank\" rel=\"noopener\">in-depth profile for the \u003cem>New Yorker\u003c/em>\u003c/a> that ran last month, Cohen told the magazine: “I am ready to die. I hope it’s not too uncomfortable. That’s about it for me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and Peter's Picks: Gypsy Jazz Meets the Beatles, Hip-Hop Dance, and a Bunch of Pansies",
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"content": "\u003caside class=\"aligncenter noborder\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio//2016/11/TheDoList111116.mp3\u003c/p>\n\u003c/aside>\n\u003cp>The Do List is wishing you a quick recovery from the extreme emotions of the presidential election, and offering some distractions and inspiration for this transition season. Among the best choices we weren’t able to mention on-air? \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Inversion: Circus Disobedience\u003c/em> at the Kinetic Arts Center in West Oakland\u003c/a>, to remind us of the protests of Berkeley’s past and future. And now for the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8ZlPBYVOXXg\u003c/p>\n\u003cp>\u003cstrong>Nov. 12, 18, and 30\u003c/strong>: \u003cem>John Paul George and Django\u003c/em> is the latest from the \u003ca href=\"http://www.hotclubsf.com/#hot-club\" target=\"_blank\" rel=\"noopener\">Hot Club of San Francisco\u003c/a>, a band founded by guitarist Paul Mehling that’s helped spread Django Reinhardt’s joyous gypsy jazz for about 30 years. Their new album is a surprisingly good match: the Beatles and gypsy jazz, with highlights including “Yellow Submarine,” and the so-sad (in a good way) “For No One,” sung by guitarist and vocalist Isabelle Fontaine. This music will flush all the political toxins out. Details for the Hot Club of San Francisco’s shows at the Cafe Pink House tomorrow are \u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at Armando’s next week\u003ca href=\"http://www.armandosmartinez.com/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>, and at Doc’s Lab Nov. 30th \u003ca href=\"http://www.docslabsf.com/event/1252983-hot-club-san-francisco-cd-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=amoteml4Cj8\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and 12\u003c/strong>: Dana Gould is a standup comedian who does old-fashioned routines — jokes about wives and shopping and his dog — but always with a weird twist, as in: “Wrote a science fiction novel about a man who wins an argument with his wife, but it was rejected as being too far-fetched.” He was a writer on \u003cem>The Simpsons\u003c/em> for seven years, he has a new IFC show called \u003cem>Stan Against Evil, \u003c/em>and like every stand-up comic, he has a podcast, but don’t hold that against him. Details for his Punchline appearance are \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005130EC3BAD72&offerid=35931\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12195646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg\" alt=\"The Do List Logo-with-text-shrunk\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>We’re pausing here to ask you to take the Do List Survey. We’re so eager to hear from you, our listeners and readers, about what you like and how you use our show. Please take two minutes or so and click through the questions. Thanks. And now back to our regular programming…\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ki0j-RVS6g\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and 13\u003c/strong>: \u003ca href=\"http://www.suzannevega.com/\" target=\"_blank\" rel=\"noopener\">Suzanne Vega\u003c/a> is known for two songs, “Luka” and “Tom’s Diner,” and she deserves so much better. On her new album, \u003cem>Lover\u003c/em>, \u003cem>Beloved\u003c/em>: \u003cem>Songs from an Evening with Carson McCullers, \u003c/em>she channels the persona of Carson McCullers, the unconventional Southern gothic writer of novels like \u003cem>Member of the Wedding\u003c/em> and \u003cem>The Heart is a Lonely Hunter (\u003c/em>which was certainly the most depressing and amazing book I read in high school). Vega has been drawn to McCullers since she was 17 and saw a photograph of the author, and that persistent obsession has paid off with this new song cycle. This is a great double bill (or triple bill, if you count McCullers), since Teddy Thompson is opening for Vega. He’s the son of folk-rock legends Linda and Richard Thompson, and a pretty fine folkie himself. Details for their shows Friday at Villa Montalvo in Saratoga \u003ca href=\"http://montalvoarts.org/calendar/#cal_events\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>, and Sunday at the Great American Music Hall are\u003ca href=\"http://www.slimspresents.com/event/suzanne-vega-gamh/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12326842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12326842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/001-800x495.jpg\" alt=\"Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum's Shoot the Moon Expo in Alameda\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum’s Shoot the Moon Expo in Alameda. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 11-13\u003c/strong>: Michael Schiesse is a total pinball wizard. That’s appropriate since he’s executive director for the \u003ca href=\"http://pacificpinball.org/\" target=\"_blank\" rel=\"noopener\">Pacific Pinball Museum\u003c/a>, which is opening the doors to its warehouse on the old Alameda Naval Air Base with about 400 working pinball machines, all available for unlimited play. Schiesse, a former exhibition designer for the Exploratorium, is both a lover of the pop culture history of the machine, its \u003cem>bing, bing, bing\u003c/em> sounds and flashing lights, but also the way pinball can teach science and technology to school kids. “It’s almost like stealth learning,” he told me while demonstrating a game, “you don’t know it’s happening. And then all of a sudden, you come away from what was a really fun time, and you’ve learned the physics of the mass of the ball moving around, the shots, the trajectories.” So go learn something. Details for the Shoot the Moon Pinball Expo are \u003ca href=\"http://pacificpinball.org/events/shoot-moon-pinball-expo\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=msBNMtjLFpw\u003c/p>\n\u003cp>\u003cstrong>Nov 11-13\u003c/strong>: The \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Hip Hop Dance Festival\u003c/a>, now in its 18th year, was the first formal event celebrating this brilliant street art. This year, the fest brings the very best crews from as far away as Paris (\u003ca href=\"https://www.facebook.com/Paradoxsal/\" target=\"_blank\" rel=\"noopener\">Paradox Sal\u003c/a>) and Vietnam \u003ca href=\"https://www.facebook.com/FanCuaSineCrew/\" target=\"_blank\" rel=\"noopener\">(S.I.N.E. Crew\u003c/a>), and as close as Los Angeles (\u003ca href=\"http://www.groovaloos.com/groovaloos/HOME.html\" target=\"_blank\" rel=\"noopener\">Groovaloos\u003c/a>), San Francisco (\u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project)\u003c/a> and Oakland (\u003ca href=\"http://www.theturfinc.com/\" target=\"_blank\" rel=\"noopener\">TURFinc\u003c/a>). The Embodiment’s Project’s Seed Language is a powerful piece about racism in America that we’ve covered \u003ca href=\"https://ww2.kqed.org/arts/2016/03/31/students-reimagine-black-lives-matter-and-black-panther-icons/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Details for this weekend’s shows at the Palace of Fine Arts in San Francisco are \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XiGAylyOL0o\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and Jan. 17\u003c/strong>: \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Home.html\" target=\"_blank\" rel=\"noopener\">Pansy Division\u003c/a> came out of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Queercore\" target=\"_blank\" rel=\"noopener\">queercore\u003c/a> scene in the 1990s, and on their latest album, \u003cem>Quite Contrary\u003c/em>, they’ve proved they’re just as good at gossipy love songs and radical gay anthems as ever. It’s got a nursery rhyme title, but adult content; check out “Blame the Bible” above. The album cover is a sweet picture of two guys in pajamas who look really happy together, another sign the band is aging well. Details for their Bottom of the Hill show Friday night are \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.hLADnKDV.dpbs\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for their Lookout Records reunion concert on Jan. 7, at 924 Gilman Street in Berkeley, are \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Gigs.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and the Chronicle's Peter Hartlaub share their picks for great events around the Bay Area this week, including the Pacific Pinball Expo, Pansy Division, Dana Gould, the Hot Club of San Francisco and more.",
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"title": "Cy and Peter's Picks: Gypsy Jazz Meets the Beatles, Hip-Hop Dance, and a Bunch of Pansies | KQED",
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"headline": "Cy and Peter's Picks: Gypsy Jazz Meets the Beatles, Hip-Hop Dance, and a Bunch of Pansies",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter noborder\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>The Do List is wishing you a quick recovery from the extreme emotions of the presidential election, and offering some distractions and inspiration for this transition season. Among the best choices we weren’t able to mention on-air? \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Inversion: Circus Disobedience\u003c/em> at the Kinetic Arts Center in West Oakland\u003c/a>, to remind us of the protests of Berkeley’s past and future. And now for the show.\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/8ZlPBYVOXXg'\n title='//www.youtube.com/embed/8ZlPBYVOXXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 12, 18, and 30\u003c/strong>: \u003cem>John Paul George and Django\u003c/em> is the latest from the \u003ca href=\"http://www.hotclubsf.com/#hot-club\" target=\"_blank\" rel=\"noopener\">Hot Club of San Francisco\u003c/a>, a band founded by guitarist Paul Mehling that’s helped spread Django Reinhardt’s joyous gypsy jazz for about 30 years. Their new album is a surprisingly good match: the Beatles and gypsy jazz, with highlights including “Yellow Submarine,” and the so-sad (in a good way) “For No One,” sung by guitarist and vocalist Isabelle Fontaine. This music will flush all the political toxins out. Details for the Hot Club of San Francisco’s shows at the Cafe Pink House tomorrow are \u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at Armando’s next week\u003ca href=\"http://www.armandosmartinez.com/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>, and at Doc’s Lab Nov. 30th \u003ca href=\"http://www.docslabsf.com/event/1252983-hot-club-san-francisco-cd-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/amoteml4Cj8'\n title='//www.youtube.com/embed/amoteml4Cj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 11 and 12\u003c/strong>: Dana Gould is a standup comedian who does old-fashioned routines — jokes about wives and shopping and his dog — but always with a weird twist, as in: “Wrote a science fiction novel about a man who wins an argument with his wife, but it was rejected as being too far-fetched.” He was a writer on \u003cem>The Simpsons\u003c/em> for seven years, he has a new IFC show called \u003cem>Stan Against Evil, \u003c/em>and like every stand-up comic, he has a podcast, but don’t hold that against him. Details for his Punchline appearance are \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005130EC3BAD72&offerid=35931\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12195646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg\" alt=\"The Do List Logo-with-text-shrunk\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>We’re pausing here to ask you to take the Do List Survey. We’re so eager to hear from you, our listeners and readers, about what you like and how you use our show. Please take two minutes or so and click through the questions. Thanks. And now back to our regular programming…\u003c/p>\n\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/8Ki0j-RVS6g'\n title='//www.youtube.com/embed/8Ki0j-RVS6g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 11 and 13\u003c/strong>: \u003ca href=\"http://www.suzannevega.com/\" target=\"_blank\" rel=\"noopener\">Suzanne Vega\u003c/a> is known for two songs, “Luka” and “Tom’s Diner,” and she deserves so much better. On her new album, \u003cem>Lover\u003c/em>, \u003cem>Beloved\u003c/em>: \u003cem>Songs from an Evening with Carson McCullers, \u003c/em>she channels the persona of Carson McCullers, the unconventional Southern gothic writer of novels like \u003cem>Member of the Wedding\u003c/em> and \u003cem>The Heart is a Lonely Hunter (\u003c/em>which was certainly the most depressing and amazing book I read in high school). Vega has been drawn to McCullers since she was 17 and saw a photograph of the author, and that persistent obsession has paid off with this new song cycle. This is a great double bill (or triple bill, if you count McCullers), since Teddy Thompson is opening for Vega. He’s the son of folk-rock legends Linda and Richard Thompson, and a pretty fine folkie himself. Details for their shows Friday at Villa Montalvo in Saratoga \u003ca href=\"http://montalvoarts.org/calendar/#cal_events\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>, and Sunday at the Great American Music Hall are\u003ca href=\"http://www.slimspresents.com/event/suzanne-vega-gamh/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12326842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12326842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/001-800x495.jpg\" alt=\"Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum's Shoot the Moon Expo in Alameda\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum’s Shoot the Moon Expo in Alameda. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 11-13\u003c/strong>: Michael Schiesse is a total pinball wizard. That’s appropriate since he’s executive director for the \u003ca href=\"http://pacificpinball.org/\" target=\"_blank\" rel=\"noopener\">Pacific Pinball Museum\u003c/a>, which is opening the doors to its warehouse on the old Alameda Naval Air Base with about 400 working pinball machines, all available for unlimited play. Schiesse, a former exhibition designer for the Exploratorium, is both a lover of the pop culture history of the machine, its \u003cem>bing, bing, bing\u003c/em> sounds and flashing lights, but also the way pinball can teach science and technology to school kids. “It’s almost like stealth learning,” he told me while demonstrating a game, “you don’t know it’s happening. And then all of a sudden, you come away from what was a really fun time, and you’ve learned the physics of the mass of the ball moving around, the shots, the trajectories.” So go learn something. Details for the Shoot the Moon Pinball Expo are \u003ca href=\"http://pacificpinball.org/events/shoot-moon-pinball-expo\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/msBNMtjLFpw'\n title='//www.youtube.com/embed/msBNMtjLFpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov 11-13\u003c/strong>: The \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Hip Hop Dance Festival\u003c/a>, now in its 18th year, was the first formal event celebrating this brilliant street art. This year, the fest brings the very best crews from as far away as Paris (\u003ca href=\"https://www.facebook.com/Paradoxsal/\" target=\"_blank\" rel=\"noopener\">Paradox Sal\u003c/a>) and Vietnam \u003ca href=\"https://www.facebook.com/FanCuaSineCrew/\" target=\"_blank\" rel=\"noopener\">(S.I.N.E. Crew\u003c/a>), and as close as Los Angeles (\u003ca href=\"http://www.groovaloos.com/groovaloos/HOME.html\" target=\"_blank\" rel=\"noopener\">Groovaloos\u003c/a>), San Francisco (\u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project)\u003c/a> and Oakland (\u003ca href=\"http://www.theturfinc.com/\" target=\"_blank\" rel=\"noopener\">TURFinc\u003c/a>). The Embodiment’s Project’s Seed Language is a powerful piece about racism in America that we’ve covered \u003ca href=\"https://ww2.kqed.org/arts/2016/03/31/students-reimagine-black-lives-matter-and-black-panther-icons/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Details for this weekend’s shows at the Palace of Fine Arts in San Francisco are \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XiGAylyOL0o'\n title='//www.youtube.com/embed/XiGAylyOL0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and Jan. 17\u003c/strong>: \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Home.html\" target=\"_blank\" rel=\"noopener\">Pansy Division\u003c/a> came out of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Queercore\" target=\"_blank\" rel=\"noopener\">queercore\u003c/a> scene in the 1990s, and on their latest album, \u003cem>Quite Contrary\u003c/em>, they’ve proved they’re just as good at gossipy love songs and radical gay anthems as ever. It’s got a nursery rhyme title, but adult content; check out “Blame the Bible” above. The album cover is a sweet picture of two guys in pajamas who look really happy together, another sign the band is aging well. Details for their Bottom of the Hill show Friday night are \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.hLADnKDV.dpbs\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for their Lookout Records reunion concert on Jan. 7, at 924 Gilman Street in Berkeley, are \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Gigs.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound",
"title": "How One Tenderloin Recording Studio Shaped the 'San Francisco Sound'",
"publishDate": 1478793650,
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"headTitle": "How One Tenderloin Recording Studio Shaped the ‘San Francisco Sound’ | KQED",
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"content": "\u003cp>The year was 1974, and it was a late night in San Francisco’s Tenderloin district. Behind an unassuming door at 245 Hyde Street, at the front desk of Wally Heider Recording studios, sat 28-year-old Susie Foot.\u003c/p>\n\u003cp>A former wild child who had spent her early 20s partying with Jimi Hendrix and the Moody Blues in London before landing in San Francisco, Foot would go on to engineer some of the most acclaimed records of the late ’70s. But she’d only been at the studio a few months, and for now, she was a “gopher.” She ran errands, coiled cables, and looked after the tape vault. After hours, she sat at the studio’s front desk — the only line of defense between thousands of dollars of studio equipment and the notoriously seedy neighborhood — and answered phones.\u003c/p>\n\u003cfigure id=\"attachment_12279504\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/1019246_orig.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12279504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/1019246_orig.png\" alt=\"Susie Foot\" width=\"701\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig.png 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-240x161.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-520x348.png 520w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susie Foot, outside Wally Heider Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>It was on one of these nights that a drunk Grace Slick ambled out of the first-floor recording room, Studio A, where Jefferson Starship was busy recording \u003cem>Dragon Fly\u003c/em>. She peered at Foot from across the desk.\u003c/p>\n\u003cp>“I know who you are. You’re a JAP,” she told Foot matter-of-factly — meaning, of course, the pejorative ‘Jewish-American Princess.’\u003c/p>\n\u003cp>Recalls Foot, some 42 years later: “I mean, I \u003cem>was\u003c/em> raised in a well-off Jewish family in Miami Beach. It seemed like she had somehow recognized my inner self. But then she just said ‘Well, my name’s Grace, and I drink a lot. If you see me passed out on the couch, don’t wake me up, because I’ll probably punch you in the face.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foot nodded. Stranger things had happened in her short time on the job. It was a small price to pay for being at the center of the most exciting music scene in America.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a handful of rooms in San Francisco whose walls, could they talk, would have no shortage of stories to tell. But none, perhaps, are quite like the acoustically treated walls at 245 Hyde. Those walls would sing. They’d slur. They’d throw nitrous parties with Jerry Garcia. They’d blast records by Neil Young, Herbie Hancock, Santana, the Pointer Sisters, Van Morrison, Creedence Clearwater Revival and Crosby, Stills, Nash & Young — and then Tupac, Digital Underground, Cake and Green Day.\u003c/p>\n\u003cp>Those walls might very well never shut up.\u003c/p>\n\u003cp>At a time when the vestiges of Free Love-era San Francisco are all but relegated to museums, the former Wally Heider Recording studios, now known as \u003ca href=\"http://www.hydestreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyde Street Studios\u003c/a>, feels preciously rare: it’s an artifact of a bygone era, a recording studio credited with helping to birth the famous “San Francisco Sound” — and a studio that’s kept up with a changing industry, quietly thriving where so many others of its generation (Sausalito’s \u003ca href=\"http://www.oursausalito.com/fun-sausalito-activities/the-record-plant-plant-studios.html\" target=\"_blank\" rel=\"noopener noreferrer\">Record Plant\u003c/a>, San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Automatt\" target=\"_blank\" rel=\"noopener noreferrer\">Automatt\u003c/a>) have fallen.\u003c/p>\n\u003cfigure id=\"attachment_12318213\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg\" alt=\"Jerry Garcia at Wally Heider Recording. \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerry Garcia at Wally Heider Recording. \u003ccite>(Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 1969 by a savvy, eccentric recording engineer and businessman named Wally Heider, what’s generally considered the Bay Area’s first high-tech studio was also one of the first to offer almost complete creative control to the musicians who booked it. All told, the studio played a vital role in establishing San Francisco as a hub for independent recording artists, a musician’s city that could hold its own with — and even offer some advantages over — New York and Los Angeles.\u003c/p>\n\u003cp>Nearly a half-century later, under the name Hyde Street Studios and the ownership of Michael Ward, it’s also one of a handful of studios from this era still left in the Bay Area. Strolling through the Tenderloin, you could be forgiven for missing it — unless you happen to be looking at the sidewalk, in which case you’ll see a modest commemorative plaque. Past the heavy gray doors, every wall of the two-floor studio — from the hallways to the cozy lounge area where Grace Slick napped to the kitchen — is lined with records that were created here, from Third Eye Blind to George Clinton to David Crosby.\u003c/p>\n\u003cfigure id=\"attachment_12287320\" class=\"wp-caption aligncenter\" style=\"max-width: 573px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png\" alt=\"The plaque outside the current Hyde Street Studios. \" width=\"573\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png 573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-240x297.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-375x463.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-520x643.png 520w\" sizes=\"(max-width: 573px) 100vw, 573px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The plaque outside the current Hyde Street Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>“The records that came out of this place were absolutely what drew me here,” says studio manager Jack Kertzman, who started out as an intern at Hyde Street in 2011. It’s a rare moment between sessions, and he’s seated in an office chair in Studio A, before its sprawling, vintage Neve console. Beyond the glass, the room most often used for full-band recording features a Hammond B-3 organ and a white Yamaha grand piano rumored to have once belonged to Frank Sinatra.\u003c/p>\n\u003cp>As an engineer, Kertzman appreciates that the studio’s history means he can offer clients an impressive range of options, from state-of-the-art modern equipment to gear from the ’70s: Hyde Street boasts a functioning live echo chamber, a tape vault, plate and spring reverbs.\u003c/p>\n\u003cfigure id=\"attachment_12290536\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg\" alt=\"A vintage limiter: Hyde Street's 'blue stripe' 1176s and Teletronix LA2\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vintage compressors: Hyde Street’s ‘blue stripe’ 1176s and Teletronix LA2\u003c/figcaption>\u003c/figure>\n\u003cp>But on a personal level, it was the ’90s-era recordings that first drew Kertzman here.\u003c/p>\n\u003cp>“I grew up on Green Day and Cake records that were made here. There’s such rich history, even just from the Michael Ward era onward,” says the engineer. “And then I started to dig deeper, and realized that in the early ’70s this was the room where the Grateful Dead recorded \u003cem>American Beauty\u003c/em> and Crosby, Stills, Nash & Young recorded \u003cem>Deja Vu\u003c/em>, all that good stuff from the San Francisco psychedelic scene. Anyone who is a real music fan loves those records too.”\u003c/p>\n\u003cp>Today, a lone lava lamp perched next to a vintage amplifier is the only explicitly psychedelic object in the room. The casual observer would have no way of knowing, for example, that the isolation booth directly to Kertzman’s right is the location where Eric Burdon, with War, recorded the famous spoken-word vocals for “Spill the Wine” — while high on acid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W77Kwh6f0TE\u003c/p>\n\u003cp>“Oh yeah, that was in the first six months of opening in 1969, when Wally was cutting all these deals to get business up from L.A. and New York,” recalls former staff engineer Stephen Barncard, one of the first employees Heider ever hired. “So he made a weekend deal with this old-school producer Jerry Goldstein to produce this new band.”\u003c/p>\n\u003cp>A Latin-soul outfit led by the Animals’ former lead singer, the band showed up to the session, got comfortable, and got high. “Spill the Wine” became their first big hit.\u003c/p>\n\u003cp>“With ‘Spill the Wine’ and all the other tunes [on that record], it was live vocals — Burdon was in this tiny booth with the lights out. I didn’t know he was tripping his mind out on LSD,” says Barncard.\u003c/p>\n\u003cfigure id=\"attachment_12287325\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg\" alt=\"Stephen Barncard, early 1970s.\" width=\"400\" height=\"261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-375x245.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard, early 1970s.\u003c/figcaption>\u003c/figure>\n\u003cp>“But he had his rap together; there was not one fix, not one edit. That record basically mixed itself. And it was very educational to me about the importance of liveness, which is what that studio encouraged. You don’t put people in little boxes — aside from the vocalist, which was necessary, because they played pretty loud. I imagine for him it must have looked like he was looking down from a tower.”\u003c/p>\n\u003cfigure id=\"attachment_12314113\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12314113\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg\" alt=\"Ellen Burke at Wally Heider Studios in the early '70s.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-520x347.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ellen Burke at Wally Heider Studios in the early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Barncard’s girlfriend at the time, Ellen Burke, also served as his assistant; he says she was actually the first woman to work at Heider’s studio, but she wasn’t on the books. Burke would also meditate in that vocal booth, which added, the engineer believes, to its magic.\u003c/p>\n\u003cp>“Anyway,” says Barncard. “Jerry got his money’s worth.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Stephen Barncard owes at least some of his success to the Yellow Pages.\u003c/p>\n\u003cp>Now 69, the recording engineer and producer is a legend in the industry, known for his work on records by the Grateful Dead, Harry Nilsson, David Crosby, CSN&Y, the Doobie Brothers — the list goes on. But at 22, he was just a hippie DJ from Kansas City with an obsessive interest in home recording techniques. He had been in San Francisco a couple weeks, crashing with friends, when he decided to look up “recording studios” in a phone book. Wally Heider’s was the only one within walking distance.\u003c/p>\n\u003cfigure id=\"attachment_12287322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8344024_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12287322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8344024_orig-800x533.jpg\" alt=\"Jack Kertzman with Stephen Barncard in Studio A.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jack Kertzman with Stephen Barncard in Studio A. \u003ccite>(Joshua Bonnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he walked over and got a tour from then-chief engineer Mel Tanner, whose openness impressed the young engineer. “I had hair down to my shoulders, I was wearing a headband, and here was this professional engineer who’d worked with Bing Crosby, and he treated me with respect,” recalls Barncard. Tanner told him to write Wally Heider a letter, so Barncard did just that.\u003c/p>\n\u003cp>Months later, by which time he was living in Los Angeles, he got a call from Heider. His interview consisted of running an errand in Heider’s T-bird and coming back with the right change. Two weeks later, he was back in San Francisco, working as an assistant engineer on CSN&Y’s record \u003cem>Deja Vu\u003c/em>, making $10 an hour — which, in 1969, was pretty darn good. The following year, he worked on the Dead’s \u003cem>American Beauty\u003c/em>. By that time, it was pretty tough to faze him; it wasn’t terribly surprising, for example, when he found himself capturing audio from an impromptu nitrous party Jerry Garcia decided to throw upstairs in Studio C. (These tapes, much to Barncard’s amusement, are currently in a library at UC Santa Cruz, being treated as objects of great educational importance.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5bI2fFpz1lE\u003c/p>\n\u003cp>Barncard’s primarily known for his work on records by some of the greats. But he’s also one of the last people who can tell you about Wally Heider, who died in 1989.\u003c/p>\n\u003cp>“He was this really big, tall guy, and he was fast-talking, though he had a stutter,” recalls Barncard. “He knew how to play ball with the top artists.” His people skills and sense of timing both played key roles in Heider’s success, says the engineer.\u003c/p>\n\u003cp>“He appeared right when a lot of artists were dissatisfied with the restrictions of the big label studios, which were unionized. You know, [rules like] you can’t touch the console, the echo chambers go off at 5 o’clock. That was the standard up until then, when you had a major label sign you. You went to their studios and followed their orders and made a record with their producers,” says Barncard. “So you have Jefferson Airplane setting up tents and smoking and doing LSD at RCA studios in Los Angeles, and they got a lot of crap for it.”\u003c/p>\n\u003cfigure id=\"attachment_12287323\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg\" alt=\"Wally Heider in 1977.\" width=\"700\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-520x412.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wally Heider in 1977. \u003ccite>(Jeffrey Husband)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heider had opened an independent studio in LA with a different atmosphere, one that put the artist in the driver’s seat, to great success; investors soon took notice. After working the Monterey Pop Festival in 1967 — in concert footage, he can be seen running onstage to rescue expensive microphones as Pete Townshend and Keith Moon begin to destroy their instruments — he had an eye on San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_12290531\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg\" alt=\"A rate card from Wally Heider Recording, 1970. \" width=\"514\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-240x299.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-375x467.jpg 375w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A rate card from Wally Heider Recording, 1970. \u003ccite>(Courtesy Russ Gary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when 245 Hyde Street, a building that had previously been used by 20th Century Fox for film storage, came up for rent, he jumped. He set up its studio rooms using measurements he’d gotten working with Bill Putnam (“the father of modern recording”) at Hollywood’s United Western Recording, where Brian Wilson made\u003cem> Pet Sounds\u003c/em>.\u003c/p>\n\u003cp>Heider would spend the next 11 years going back and forth between Los Angeles and San Francisco, his studios shaping the sound of the West Coast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As far as Susie Foot knows, the roster of female sound engineers in the United States in the early ’70s consists of two people: Herself and Terry Becker, who unsurprisingly became a close friend. (Leslie Ann Jones, now an acclaimed sound engineer at Skywalker Sound, joined them in 1978 with a job at the newly opened Automatt.) It’s an imbalance that, unfortunately, has only slightly improved since the 1970s.\u003c/p>\n\u003cp>But to hear Foot tell it, she rarely experienced sexism during her time at Wally Heider Studios, where she began as an unpaid intern in 1974 and worked her way up to first engineer by the time the studio closed in 1980. (At the request of new owner Michael Ward, she also returned in Hyde Street Studios’ early days as studio manager; she’s responsible for acquiring that prized Neve console in Studio A.)\u003c/p>\n\u003cfigure id=\"attachment_12290532\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg\" alt='An article titled \"Women Who Take Charge In the Sound Studios,\" featuring Susie Foot, published July 12, 1981.' width=\"960\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-520x352.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An article titled “Women Who Take Charge In the Sound Studios,” featuring Susie Foot, published July 12, 1981.\u003c/figcaption>\u003c/figure>\n\u003cp>Foot’s interest in sound engineering grew from learning simple home recording techniques to help her husband, the guitarist Jimmy Foot, who was then leading a psychedelic band called The Magic Mind in the tiny North Bay town of Cloverdale. She soon fell in love with the process — and as her skill grew, so did her desire for more sophisticated equipment. A friend set up an interview at Wally Heider’s, and she brought some of her home recordings.\u003c/p>\n\u003cp>“We were really poor at the time. We were on welfare, actually,” says Foot from her home in Humboldt County, where she runs\u003ca href=\"http://www.bongoboystudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Bongo Boy Studios\u003c/a> with her husband. “And I brought in what I’d been working on, and the studio manager said ‘You did this on what? That’s incredible.’ I had good ears, good instincts with no training.”\u003c/p>\n\u003cp>Within a couple years, Foot was working on albums by Santana, Herbie Hancock, and Patti LaBelle.\u003c/p>\n\u003cfigure id=\"attachment_12290538\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\" alt=\"Dead Kennedys performing at Hyde Street in 1986.\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-520x390.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Kennedys performing at Hyde Street in 1986. \u003ccite>(John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were a really good team,” she recalls, of working with Carlos Santana on the album \u003cem>Amigos\u003c/em>. “He had a vegetarian restaurant back then, and his wife would come bring us these beautiful vegetarian lunches for us. Or we’d all go out to dinner and they’d protect me since I was the woman: we’d walk around the Tenderloin with me in the center.”\u003c/p>\n\u003cp>But the thing that stands out most about that album for Foot was Santana’s use of color. “When Carlos went into do his lead guitar, he’d say he wanted the sound to be ‘red,’ so he’d blend the lights in the studio until he got the color he felt good about,” she says. “He’d set up an altar, there would be candles burning, and it would take you on a journey — even though you were working.”\u003c/p>\n\u003cfigure id=\"attachment_12290533\" class=\"wp-caption aligncenter\" style=\"max-width: 949px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg\" alt=\"Foot and engineer Dave Rubinson outside Wally Heider Recording. \" width=\"949\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg 949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-520x404.jpg 520w\" sizes=\"(max-width: 949px) 100vw, 949px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Foot and engineer Dave Rubinson outside Wally Heider Recording. \u003ccite>(Jeffrey Husband)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other memorable clients include Grateful Dead drummer Mickey Hart, who once had to be nearly forcibly removed from the studio after overstaying the time he’d booked; he left, finally, after staff threatened to call the police. (In one version of this story that’s passed around the grapevine, Hart hired a Hell’s Angel to stand guard at the door with a samurai sword and prevent studio staff from entering; sadly, no one could quite confirm that for this piece.)\u003c/p>\n\u003cp>On the other end of the spectrum: One of the “nicest” musicians in the business, says Foot, was Herbie Hancock, who recorded his pivotal record \u003cem>Head Hunters\u003c/em> there in 1973. “He was a gentleman, super classy. He taught me about how important meditation was, how necessary it was to clear your mind.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYRrIBqKsJ4\u003c/p>\n\u003cp>For a Hancock session, Foot says, she and engineer Dave Rubinson kept two 24-track tape machines running, so when Hancock was improvising, they could switch over to a second reel without stopping. Then began a complicated cutting process, in which they taped together the sections of reels Hancock liked, jigsaw puzzle-style.\u003c/p>\n\u003cp>One night, someone accidentally threw out a couple of “keeper” reels — so she, Rubinson, engineer Fred Catero and Herbie Hancock spent the night “rummaging through the wastebasket, taking out tape, piecing it together and playing it, and going ‘Nope, that’s not it,’” Foot remembers with a laugh. “There’s no vocal cues in jazz either, to help figure out where you were!\u003c/p>\n\u003cp>“Thank god Herbie knew what everything was supposed to sound like.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The forward march of technology has been notoriously tough on recording artists over the past two decades, as streaming and download counts replace physical record sales. So it’s not surprising that \u003ca href=\"http://www.npr.org/2009/12/10/121304883/recording-studios-face-uncertain-future\" target=\"_blank\" rel=\"noopener noreferrer\">professional recording studios have been hit hard as well\u003c/a>. It’s also no secret that, in the days since Stephen Barncard was living comfortably on $10 an hour, the Bay Area has been home to skyrocketing housing prices. In turn, many formerly local musicians have fled for greener pastures, and untold numbers of would-be rock stars simply stopped moving here in the first place: it’s a tough sell, if you’re an artist.\u003c/p>\n\u003cp>All told, it starts to seem somewhat magical that anyone’s been able to keep a state-of-the-art recording studio going in the heart of the city for nearly 50 years.\u003c/p>\n\u003cp>If you start asking around about that magic, however, those in the know will point to Hyde Street Studios’ \u003ca href=\"http://www.michaelwardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Ward\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12290530\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3645668_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12290530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3645668_orig-1020x680.jpg\" alt=\"Singer, songwriter, multi-instrumentalist and studio owner Michael Ward.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer, songwriter, multi-instrumentalist and studio owner Michael Ward.\u003c/figcaption>\u003c/figure>\n\u003cp>“I got into things just as the whole industry was falling apart,” says Ward, who’s kept Hyde Street open for the past 36 years, with a half-hearted laugh. “But it’s certainly never been a sensible or straightforward business.”\u003c/p>\n\u003cp>By 1978, when Wally Heider sold the studio and its name to the production company Filmways, a lot of the financial bottom was already dropping out of the recording industry on the West Coast, says Ward. “There was this short period where [music] was a glamour industry, and somehow there were corporate people putting dollars behind Heider, and this studio he created out of that was seminal,” he says. “But it was a never a comfortable arrangement between the suits in L.A. and the hippies in San Francisco. Eventually the bottom line just didn’t add up; glamorous records weren’t being made there. The light started shining elsewhere.”\u003c/p>\n\u003cfigure id=\"attachment_12290907\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FullSizeRender-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12290907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1020x765.jpg\" alt=\"Inside the massive tape vault at Hyde Street Studios. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5.jpg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside the massive tape vault at Hyde Street Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>In 1980, when Wally Heider Recording officially closed for business, Ward was a young songwriter and musician who had been running a successful home recording room for three years out of his house in the Sunset. When he heard the studio was available to rent, he and his business partner Tom Sharples went to tour the place; Ward says his only goal, from the beginning, was to have a place to record his own work.\u003c/p>\n\u003cp>“I had been involved in building a bunch of studios by this point, and it’s just so arduous to start from scratch and achieve [acoustic] isolation. So to have access to this 10,000 square-foot facility, with four completely built studios — it was fatally attractive.”\u003c/p>\n\u003cp>Filmways let their lease expire in 1980, at which time a partnership composed of Ward, Sharples, and sound engineer Dan Alexander rented the studios and moved in. The rent was $2,200 a month.\u003c/p>\n\u003cp>In the three and a half decades since, according to Ward — who’s been the sole owner since the partnership dissolved in 1984 — Hyde Street has had a lot of personalities. “We were punk music central there for a while — Dead Kennedys, Flipper,” muses Ward, though “it was never really my thing.” Joe Satriani was one of the studio’s first clients; Chris Isaak was also a regular.\u003c/p>\n\u003cfigure id=\"attachment_12290534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8142501_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12290534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8142501_orig-800x533.jpg\" alt=\"Rappin 4-Tay working in Studio A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rappin 4-Tay working in Studio A. \u003ccite>(Joshua Bonnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late eighties and early nineties, as the Bay Area’s hip-hop scene was becoming a national force, the studio attracted the likes of Digital Underground, whose record\u003cem> Sex Packets\u003c/em> was recorded at Hyde Street. Their young backup dancer, Tupac Shakur, returned to record his solo debut \u003cem>2Pacalypse Now\u003c/em>. Soon after, Ice Cube booked “like two months” of time for his up-and-coming cousin, Del the Funkee Homosapien. “Then he didn’t show up for five weeks,” recalls Ward. “That was a different time.” The following decade brought Green Day, Cake, Train — and more recently, Mark Kozelek, aka Sun Kil Moon, whose critically acclaimed record \u003cem>Benji\u003c/em> was recorded at Hyde Street over the course of six months in 2013.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=begLNqsNusk\u003c/p>\n\u003cp>For those wondering how operating a recording studio in the year 2016 could possibly be a smart business choice, Ward has a candid answer: it isn’t. There have been months where he’s had to borrow money to pay the rent. Hyde Street has never been profitable, says the musician; it’s only become solvent, even, the past couple years.\u003c/p>\n\u003cp>“I gave up 25 years ago thinking I was ever going to make money on it. Survival was the thing,” he says. “And somehow, if I got to record there and not have to pay anybody else, that would justify it.”\u003c/p>\n\u003cfigure id=\"attachment_12290537\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg\" alt=\"The band: Michael Ward with Dogs and Fishes, in Studio A.\" width=\"960\" height=\"673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-520x365.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band: Michael Ward with Dogs and Fishes, in Studio A. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Hyde Street’s independently functioning studios (engineers serve as co-owners, and pay rent), Ward currently rents out various rooms out of the 10,000-square-foot building to some 12 different vendors, including Cutting Edge, a recording equipment supplier whose co-owner also recently took over \u003ca href=\"http://www.studiodiscrete.com/#main\" target=\"_blank\" rel=\"noopener noreferrer\">what had been Studio D\u003c/a>.\u003c/p>\n\u003cp>But perhaps the most generous benefactor to Hyde Street Studios’ survival is also the most maligned, or certainly the most misunderstood: its surroundings.\u003c/p>\n\u003cfigure id=\"attachment_12291088\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3778079_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12291088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3778079_orig-1020x765.jpg\" alt=\"Samsaya outside Hyde Street Studios. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig.jpg 1066w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samsaya outside Hyde Street Studios in 2016. \u003ccite>(Courtesy Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been blessed with a particularly noxious social situation. We’re right on the fringes of the epicenter of the Tenderloin,” Ward says. “Between that and how much work someone would have to do to take this place over, and the crack and heroin that’s always been kind of swirling right outside the door…\u003c/p>\n\u003cp>“If it was in a nice neighborhood, we’d have been gone decades ago.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In June of this year, there was a show at Studio C — the live room that once served as the Grateful Dead’s practice space. Hosted by engineer Scott McDowell, it was a farewell show for (formerly local) electro-pop musician Katie Day; alt-country singer Michaela Anne, on tour from Nashville, served as opener; other San Francisco songwriters, like Max Lockwood Porter, played a few songs to kick off the night.\u003c/p>\n\u003cp>There were maybe 40 people there at the show’s peak, standing, sitting cross-legged on the floor, spilling out into the lounge, visiting the ever-popular vending machine with the one unmarked button that delivers a mystery-brand can of beer, or looking up at the walls, where certified gold records like \u003cem>2Pacalypse Now\u003c/em> and “The Humpty Dance” are encased in glass. Word had spread on Facebook, and attendees paid $5 at the front desk, where Susie Foot once sat, to get in. Grace Slick wasn’t there threatening to punch anybody, but it was a pretty damn good party.\u003c/p>\n\u003cp>“There’s a community there that you don’t get in other studios,” says \u003ca href=\"https://www.facebook.com/chuckprophetofficial/?fref=ts\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Prophet\u003c/a>, a prolific San Francisco troubadour who made use of the studio’s ’70s-era offerings, like the live echo chamber, on his forthcoming full-length,\u003cem> Bobby Fuller Died For Your Sins\u003c/em>. (Prophet’s history with the studio dates back to the early ’80s, when his high school band paid $5 an hour to practice in one of the rooms upstairs.)\u003c/p>\n\u003cp>“You do a record there, you’re gonna run into people in the hallways, in the break room, the kitchen. And that’s what music in the Bay Area has always been about.”\u003c/p>\n\u003cp>The sentiment circles back, unsurprisingly, to what Wally Heider knew along: you can’t underestimate the importance of cultivating a comfortable atmosphere for musicians.\u003c/p>\n\u003cp>https://www.instagram.com/p/BI0-115A9i2/\u003c/p>\n\u003cp>“They treat people with respect,” says Prophet. “For a lot of people booking studio time, maybe this is the first time you’ve sung into a microphone. You’re standing there naked, baring your soul; you want to feel like you’re being taken care of. Studios that do that are a dying breed.”\u003c/p>\n\u003cp>As for the future, it remains — as it does in the music industry — uncertain.\u003c/p>\n\u003cp>Ward seems sanguine. “I still feel very invested in this project,” he says, “bringing it to successful fruition, not being driven out of the business. But the main motivation for all of this is to write music. That’s what I told Jack [Kertzman]. That’s what has justified it so far, and that’s what will guide me in the future.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eCSYT5fX3D0\u003c/p>\n\u003cp>So no, after 36 years, he’s not planning on selling Hyde Street Studios anytime soon. He has, however, recently moved most of what was in Studio D to his home in the Sunset, and is enjoying having a studio in his house again. It’s nice to just go downstairs in his socks when he wants to record.\u003c/p>\n\u003cp>And there’s this: lately it’s gotten difficult to book studio time at his own studio. Business is, well, busy. Which should serve, maybe, as a small source of comfort to those who weren’t around for the so-called golden age, who didn’t hear the birth of the “San Francisco Sound” up close.\u003c/p>\n\u003cp>“I love that there’s such history at that studio, from [CSN&Y’s] ‘Teach Your Children’ to the Dead Kennedys,” says Prophet.\u003c/p>\n\u003cp>“But it’s also important to remember: People are making history here every day.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "How One Tenderloin Recording Studio Shaped the 'San Francisco Sound' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1974, and it was a late night in San Francisco’s Tenderloin district. Behind an unassuming door at 245 Hyde Street, at the front desk of Wally Heider Recording studios, sat 28-year-old Susie Foot.\u003c/p>\n\u003cp>A former wild child who had spent her early 20s partying with Jimi Hendrix and the Moody Blues in London before landing in San Francisco, Foot would go on to engineer some of the most acclaimed records of the late ’70s. But she’d only been at the studio a few months, and for now, she was a “gopher.” She ran errands, coiled cables, and looked after the tape vault. After hours, she sat at the studio’s front desk — the only line of defense between thousands of dollars of studio equipment and the notoriously seedy neighborhood — and answered phones.\u003c/p>\n\u003cfigure id=\"attachment_12279504\" class=\"wp-caption aligncenter\" style=\"max-width: 701px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/1019246_orig.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12279504\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/1019246_orig.png\" alt=\"Susie Foot\" width=\"701\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig.png 701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-240x161.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/1019246_orig-520x348.png 520w\" sizes=\"(max-width: 701px) 100vw, 701px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Susie Foot, outside Wally Heider Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>It was on one of these nights that a drunk Grace Slick ambled out of the first-floor recording room, Studio A, where Jefferson Starship was busy recording \u003cem>Dragon Fly\u003c/em>. She peered at Foot from across the desk.\u003c/p>\n\u003cp>“I know who you are. You’re a JAP,” she told Foot matter-of-factly — meaning, of course, the pejorative ‘Jewish-American Princess.’\u003c/p>\n\u003cp>Recalls Foot, some 42 years later: “I mean, I \u003cem>was\u003c/em> raised in a well-off Jewish family in Miami Beach. It seemed like she had somehow recognized my inner self. But then she just said ‘Well, my name’s Grace, and I drink a lot. If you see me passed out on the couch, don’t wake me up, because I’ll probably punch you in the face.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foot nodded. Stranger things had happened in her short time on the job. It was a small price to pay for being at the center of the most exciting music scene in America.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a handful of rooms in San Francisco whose walls, could they talk, would have no shortage of stories to tell. But none, perhaps, are quite like the acoustically treated walls at 245 Hyde. Those walls would sing. They’d slur. They’d throw nitrous parties with Jerry Garcia. They’d blast records by Neil Young, Herbie Hancock, Santana, the Pointer Sisters, Van Morrison, Creedence Clearwater Revival and Crosby, Stills, Nash & Young — and then Tupac, Digital Underground, Cake and Green Day.\u003c/p>\n\u003cp>Those walls might very well never shut up.\u003c/p>\n\u003cp>At a time when the vestiges of Free Love-era San Francisco are all but relegated to museums, the former Wally Heider Recording studios, now known as \u003ca href=\"http://www.hydestreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hyde Street Studios\u003c/a>, feels preciously rare: it’s an artifact of a bygone era, a recording studio credited with helping to birth the famous “San Francisco Sound” — and a studio that’s kept up with a changing industry, quietly thriving where so many others of its generation (Sausalito’s \u003ca href=\"http://www.oursausalito.com/fun-sausalito-activities/the-record-plant-plant-studios.html\" target=\"_blank\" rel=\"noopener noreferrer\">Record Plant\u003c/a>, San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Automatt\" target=\"_blank\" rel=\"noopener noreferrer\">Automatt\u003c/a>) have fallen.\u003c/p>\n\u003cfigure id=\"attachment_12318213\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg\" alt=\"Jerry Garcia at Wally Heider Recording. \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/PERRO_JERRY2-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerry Garcia at Wally Heider Recording. \u003ccite>(Stephen Barncard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 1969 by a savvy, eccentric recording engineer and businessman named Wally Heider, what’s generally considered the Bay Area’s first high-tech studio was also one of the first to offer almost complete creative control to the musicians who booked it. All told, the studio played a vital role in establishing San Francisco as a hub for independent recording artists, a musician’s city that could hold its own with — and even offer some advantages over — New York and Los Angeles.\u003c/p>\n\u003cp>Nearly a half-century later, under the name Hyde Street Studios and the ownership of Michael Ward, it’s also one of a handful of studios from this era still left in the Bay Area. Strolling through the Tenderloin, you could be forgiven for missing it — unless you happen to be looking at the sidewalk, in which case you’ll see a modest commemorative plaque. Past the heavy gray doors, every wall of the two-floor studio — from the hallways to the cozy lounge area where Grace Slick napped to the kitchen — is lined with records that were created here, from Third Eye Blind to George Clinton to David Crosby.\u003c/p>\n\u003cfigure id=\"attachment_12287320\" class=\"wp-caption aligncenter\" style=\"max-width: 573px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287320\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png\" alt=\"The plaque outside the current Hyde Street Studios. \" width=\"573\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque.png 573w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-240x297.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-375x463.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Wally-Heiders-San-Francisco-Studios-Plaque-520x643.png 520w\" sizes=\"(max-width: 573px) 100vw, 573px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The plaque outside the current Hyde Street Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>“The records that came out of this place were absolutely what drew me here,” says studio manager Jack Kertzman, who started out as an intern at Hyde Street in 2011. It’s a rare moment between sessions, and he’s seated in an office chair in Studio A, before its sprawling, vintage Neve console. Beyond the glass, the room most often used for full-band recording features a Hammond B-3 organ and a white Yamaha grand piano rumored to have once belonged to Frank Sinatra.\u003c/p>\n\u003cp>As an engineer, Kertzman appreciates that the studio’s history means he can offer clients an impressive range of options, from state-of-the-art modern equipment to gear from the ’70s: Hyde Street boasts a functioning live echo chamber, a tape vault, plate and spring reverbs.\u003c/p>\n\u003cfigure id=\"attachment_12290536\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg\" alt=\"A vintage limiter: Hyde Street's 'blue stripe' 1176s and Teletronix LA2\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Studio-File-0214-5-1-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vintage compressors: Hyde Street’s ‘blue stripe’ 1176s and Teletronix LA2\u003c/figcaption>\u003c/figure>\n\u003cp>But on a personal level, it was the ’90s-era recordings that first drew Kertzman here.\u003c/p>\n\u003cp>“I grew up on Green Day and Cake records that were made here. There’s such rich history, even just from the Michael Ward era onward,” says the engineer. “And then I started to dig deeper, and realized that in the early ’70s this was the room where the Grateful Dead recorded \u003cem>American Beauty\u003c/em> and Crosby, Stills, Nash & Young recorded \u003cem>Deja Vu\u003c/em>, all that good stuff from the San Francisco psychedelic scene. Anyone who is a real music fan loves those records too.”\u003c/p>\n\u003cp>Today, a lone lava lamp perched next to a vintage amplifier is the only explicitly psychedelic object in the room. The casual observer would have no way of knowing, for example, that the isolation booth directly to Kertzman’s right is the location where Eric Burdon, with War, recorded the famous spoken-word vocals for “Spill the Wine” — while high on acid.\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/W77Kwh6f0TE'\n title='//www.youtube.com/embed/W77Kwh6f0TE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Oh yeah, that was in the first six months of opening in 1969, when Wally was cutting all these deals to get business up from L.A. and New York,” recalls former staff engineer Stephen Barncard, one of the first employees Heider ever hired. “So he made a weekend deal with this old-school producer Jerry Goldstein to produce this new band.”\u003c/p>\n\u003cp>A Latin-soul outfit led by the Animals’ former lead singer, the band showed up to the session, got comfortable, and got high. “Spill the Wine” became their first big hit.\u003c/p>\n\u003cp>“With ‘Spill the Wine’ and all the other tunes [on that record], it was live vocals — Burdon was in this tiny booth with the lights out. I didn’t know he was tripping his mind out on LSD,” says Barncard.\u003c/p>\n\u003cfigure id=\"attachment_12287325\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg\" alt=\"Stephen Barncard, early 1970s.\" width=\"400\" height=\"261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/SQB71CHOPSTICKS_400-375x245.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Barncard, early 1970s.\u003c/figcaption>\u003c/figure>\n\u003cp>“But he had his rap together; there was not one fix, not one edit. That record basically mixed itself. And it was very educational to me about the importance of liveness, which is what that studio encouraged. You don’t put people in little boxes — aside from the vocalist, which was necessary, because they played pretty loud. I imagine for him it must have looked like he was looking down from a tower.”\u003c/p>\n\u003cfigure id=\"attachment_12314113\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12314113\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg\" alt=\"Ellen Burke at Wally Heider Studios in the early '70s.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/RJF-ELLEN-2-520x347.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ellen Burke at Wally Heider Studios in the early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>Barncard’s girlfriend at the time, Ellen Burke, also served as his assistant; he says she was actually the first woman to work at Heider’s studio, but she wasn’t on the books. Burke would also meditate in that vocal booth, which added, the engineer believes, to its magic.\u003c/p>\n\u003cp>“Anyway,” says Barncard. “Jerry got his money’s worth.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Stephen Barncard owes at least some of his success to the Yellow Pages.\u003c/p>\n\u003cp>Now 69, the recording engineer and producer is a legend in the industry, known for his work on records by the Grateful Dead, Harry Nilsson, David Crosby, CSN&Y, the Doobie Brothers — the list goes on. But at 22, he was just a hippie DJ from Kansas City with an obsessive interest in home recording techniques. He had been in San Francisco a couple weeks, crashing with friends, when he decided to look up “recording studios” in a phone book. Wally Heider’s was the only one within walking distance.\u003c/p>\n\u003cfigure id=\"attachment_12287322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8344024_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12287322\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8344024_orig-800x533.jpg\" alt=\"Jack Kertzman with Stephen Barncard in Studio A.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8344024_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jack Kertzman with Stephen Barncard in Studio A. \u003ccite>(Joshua Bonnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he walked over and got a tour from then-chief engineer Mel Tanner, whose openness impressed the young engineer. “I had hair down to my shoulders, I was wearing a headband, and here was this professional engineer who’d worked with Bing Crosby, and he treated me with respect,” recalls Barncard. Tanner told him to write Wally Heider a letter, so Barncard did just that.\u003c/p>\n\u003cp>Months later, by which time he was living in Los Angeles, he got a call from Heider. His interview consisted of running an errand in Heider’s T-bird and coming back with the right change. Two weeks later, he was back in San Francisco, working as an assistant engineer on CSN&Y’s record \u003cem>Deja Vu\u003c/em>, making $10 an hour — which, in 1969, was pretty darn good. The following year, he worked on the Dead’s \u003cem>American Beauty\u003c/em>. By that time, it was pretty tough to faze him; it wasn’t terribly surprising, for example, when he found himself capturing audio from an impromptu nitrous party Jerry Garcia decided to throw upstairs in Studio C. (These tapes, much to Barncard’s amusement, are currently in a library at UC Santa Cruz, being treated as objects of great educational importance.)\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/5bI2fFpz1lE'\n title='//www.youtube.com/embed/5bI2fFpz1lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barncard’s primarily known for his work on records by some of the greats. But he’s also one of the last people who can tell you about Wally Heider, who died in 1989.\u003c/p>\n\u003cp>“He was this really big, tall guy, and he was fast-talking, though he had a stutter,” recalls Barncard. “He knew how to play ball with the top artists.” His people skills and sense of timing both played key roles in Heider’s success, says the engineer.\u003c/p>\n\u003cp>“He appeared right when a lot of artists were dissatisfied with the restrictions of the big label studios, which were unionized. You know, [rules like] you can’t touch the console, the echo chambers go off at 5 o’clock. That was the standard up until then, when you had a major label sign you. You went to their studios and followed their orders and made a record with their producers,” says Barncard. “So you have Jefferson Airplane setting up tents and smoking and doing LSD at RCA studios in Los Angeles, and they got a lot of crap for it.”\u003c/p>\n\u003cfigure id=\"attachment_12287323\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12287323\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg\" alt=\"Wally Heider in 1977.\" width=\"700\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/wallyheider.jeffreyhusband.photo_-520x412.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Wally Heider in 1977. \u003ccite>(Jeffrey Husband)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heider had opened an independent studio in LA with a different atmosphere, one that put the artist in the driver’s seat, to great success; investors soon took notice. After working the Monterey Pop Festival in 1967 — in concert footage, he can be seen running onstage to rescue expensive microphones as Pete Townshend and Keith Moon begin to destroy their instruments — he had an eye on San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_12290531\" class=\"wp-caption aligncenter\" style=\"max-width: 514px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg\" alt=\"A rate card from Wally Heider Recording, 1970. \" width=\"514\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside.jpg 514w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-240x299.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1970_WHR_rate_card_outside-375x467.jpg 375w\" sizes=\"(max-width: 514px) 100vw, 514px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A rate card from Wally Heider Recording, 1970. \u003ccite>(Courtesy Russ Gary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when 245 Hyde Street, a building that had previously been used by 20th Century Fox for film storage, came up for rent, he jumped. He set up its studio rooms using measurements he’d gotten working with Bill Putnam (“the father of modern recording”) at Hollywood’s United Western Recording, where Brian Wilson made\u003cem> Pet Sounds\u003c/em>.\u003c/p>\n\u003cp>Heider would spend the next 11 years going back and forth between Los Angeles and San Francisco, his studios shaping the sound of the West Coast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As far as Susie Foot knows, the roster of female sound engineers in the United States in the early ’70s consists of two people: Herself and Terry Becker, who unsurprisingly became a close friend. (Leslie Ann Jones, now an acclaimed sound engineer at Skywalker Sound, joined them in 1978 with a job at the newly opened Automatt.) It’s an imbalance that, unfortunately, has only slightly improved since the 1970s.\u003c/p>\n\u003cp>But to hear Foot tell it, she rarely experienced sexism during her time at Wally Heider Studios, where she began as an unpaid intern in 1974 and worked her way up to first engineer by the time the studio closed in 1980. (At the request of new owner Michael Ward, she also returned in Hyde Street Studios’ early days as studio manager; she’s responsible for acquiring that prized Neve console in Studio A.)\u003c/p>\n\u003cfigure id=\"attachment_12290532\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg\" alt='An article titled \"Women Who Take Charge In the Sound Studios,\" featuring Susie Foot, published July 12, 1981.' width=\"960\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13417575_293783484295931_514524512702584285_n-520x352.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An article titled “Women Who Take Charge In the Sound Studios,” featuring Susie Foot, published July 12, 1981.\u003c/figcaption>\u003c/figure>\n\u003cp>Foot’s interest in sound engineering grew from learning simple home recording techniques to help her husband, the guitarist Jimmy Foot, who was then leading a psychedelic band called The Magic Mind in the tiny North Bay town of Cloverdale. She soon fell in love with the process — and as her skill grew, so did her desire for more sophisticated equipment. A friend set up an interview at Wally Heider’s, and she brought some of her home recordings.\u003c/p>\n\u003cp>“We were really poor at the time. We were on welfare, actually,” says Foot from her home in Humboldt County, where she runs\u003ca href=\"http://www.bongoboystudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Bongo Boy Studios\u003c/a> with her husband. “And I brought in what I’d been working on, and the studio manager said ‘You did this on what? That’s incredible.’ I had good ears, good instincts with no training.”\u003c/p>\n\u003cp>Within a couple years, Foot was working on albums by Santana, Herbie Hancock, and Patti LaBelle.\u003c/p>\n\u003cfigure id=\"attachment_12290538\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\" alt=\"Dead Kennedys performing at Hyde Street in 1986.\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-520x390.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Kennedys performing at Hyde Street in 1986. \u003ccite>(John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were a really good team,” she recalls, of working with Carlos Santana on the album \u003cem>Amigos\u003c/em>. “He had a vegetarian restaurant back then, and his wife would come bring us these beautiful vegetarian lunches for us. Or we’d all go out to dinner and they’d protect me since I was the woman: we’d walk around the Tenderloin with me in the center.”\u003c/p>\n\u003cp>But the thing that stands out most about that album for Foot was Santana’s use of color. “When Carlos went into do his lead guitar, he’d say he wanted the sound to be ‘red,’ so he’d blend the lights in the studio until he got the color he felt good about,” she says. “He’d set up an altar, there would be candles burning, and it would take you on a journey — even though you were working.”\u003c/p>\n\u003cfigure id=\"attachment_12290533\" class=\"wp-caption aligncenter\" style=\"max-width: 949px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg\" alt=\"Foot and engineer Dave Rubinson outside Wally Heider Recording. \" width=\"949\" height=\"738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n.jpg 949w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/12311081_190857221255225_1281167110907875279_n-520x404.jpg 520w\" sizes=\"(max-width: 949px) 100vw, 949px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Foot and engineer Dave Rubinson outside Wally Heider Recording. \u003ccite>(Jeffrey Husband)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other memorable clients include Grateful Dead drummer Mickey Hart, who once had to be nearly forcibly removed from the studio after overstaying the time he’d booked; he left, finally, after staff threatened to call the police. (In one version of this story that’s passed around the grapevine, Hart hired a Hell’s Angel to stand guard at the door with a samurai sword and prevent studio staff from entering; sadly, no one could quite confirm that for this piece.)\u003c/p>\n\u003cp>On the other end of the spectrum: One of the “nicest” musicians in the business, says Foot, was Herbie Hancock, who recorded his pivotal record \u003cem>Head Hunters\u003c/em> there in 1973. “He was a gentleman, super classy. He taught me about how important meditation was, how necessary it was to clear your mind.”\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/WYRrIBqKsJ4'\n title='//www.youtube.com/embed/WYRrIBqKsJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For a Hancock session, Foot says, she and engineer Dave Rubinson kept two 24-track tape machines running, so when Hancock was improvising, they could switch over to a second reel without stopping. Then began a complicated cutting process, in which they taped together the sections of reels Hancock liked, jigsaw puzzle-style.\u003c/p>\n\u003cp>One night, someone accidentally threw out a couple of “keeper” reels — so she, Rubinson, engineer Fred Catero and Herbie Hancock spent the night “rummaging through the wastebasket, taking out tape, piecing it together and playing it, and going ‘Nope, that’s not it,’” Foot remembers with a laugh. “There’s no vocal cues in jazz either, to help figure out where you were!\u003c/p>\n\u003cp>“Thank god Herbie knew what everything was supposed to sound like.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The forward march of technology has been notoriously tough on recording artists over the past two decades, as streaming and download counts replace physical record sales. So it’s not surprising that \u003ca href=\"http://www.npr.org/2009/12/10/121304883/recording-studios-face-uncertain-future\" target=\"_blank\" rel=\"noopener noreferrer\">professional recording studios have been hit hard as well\u003c/a>. It’s also no secret that, in the days since Stephen Barncard was living comfortably on $10 an hour, the Bay Area has been home to skyrocketing housing prices. In turn, many formerly local musicians have fled for greener pastures, and untold numbers of would-be rock stars simply stopped moving here in the first place: it’s a tough sell, if you’re an artist.\u003c/p>\n\u003cp>All told, it starts to seem somewhat magical that anyone’s been able to keep a state-of-the-art recording studio going in the heart of the city for nearly 50 years.\u003c/p>\n\u003cp>If you start asking around about that magic, however, those in the know will point to Hyde Street Studios’ \u003ca href=\"http://www.michaelwardmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Ward\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12290530\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3645668_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12290530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3645668_orig-1020x680.jpg\" alt=\"Singer, songwriter, multi-instrumentalist and studio owner Michael Ward.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3645668_orig.jpg 1024w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer, songwriter, multi-instrumentalist and studio owner Michael Ward.\u003c/figcaption>\u003c/figure>\n\u003cp>“I got into things just as the whole industry was falling apart,” says Ward, who’s kept Hyde Street open for the past 36 years, with a half-hearted laugh. “But it’s certainly never been a sensible or straightforward business.”\u003c/p>\n\u003cp>By 1978, when Wally Heider sold the studio and its name to the production company Filmways, a lot of the financial bottom was already dropping out of the recording industry on the West Coast, says Ward. “There was this short period where [music] was a glamour industry, and somehow there were corporate people putting dollars behind Heider, and this studio he created out of that was seminal,” he says. “But it was a never a comfortable arrangement between the suits in L.A. and the hippies in San Francisco. Eventually the bottom line just didn’t add up; glamorous records weren’t being made there. The light started shining elsewhere.”\u003c/p>\n\u003cfigure id=\"attachment_12290907\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FullSizeRender-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12290907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1020x765.jpg\" alt=\"Inside the massive tape vault at Hyde Street Studios. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FullSizeRender-5.jpg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside the massive tape vault at Hyde Street Studios.\u003c/figcaption>\u003c/figure>\n\u003cp>In 1980, when Wally Heider Recording officially closed for business, Ward was a young songwriter and musician who had been running a successful home recording room for three years out of his house in the Sunset. When he heard the studio was available to rent, he and his business partner Tom Sharples went to tour the place; Ward says his only goal, from the beginning, was to have a place to record his own work.\u003c/p>\n\u003cp>“I had been involved in building a bunch of studios by this point, and it’s just so arduous to start from scratch and achieve [acoustic] isolation. So to have access to this 10,000 square-foot facility, with four completely built studios — it was fatally attractive.”\u003c/p>\n\u003cp>Filmways let their lease expire in 1980, at which time a partnership composed of Ward, Sharples, and sound engineer Dan Alexander rented the studios and moved in. The rent was $2,200 a month.\u003c/p>\n\u003cp>In the three and a half decades since, according to Ward — who’s been the sole owner since the partnership dissolved in 1984 — Hyde Street has had a lot of personalities. “We were punk music central there for a while — Dead Kennedys, Flipper,” muses Ward, though “it was never really my thing.” Joe Satriani was one of the studio’s first clients; Chris Isaak was also a regular.\u003c/p>\n\u003cfigure id=\"attachment_12290534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8142501_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12290534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/8142501_orig-800x533.jpg\" alt=\"Rappin 4-Tay working in Studio A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/8142501_orig.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rappin 4-Tay working in Studio A. \u003ccite>(Joshua Bonnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the late eighties and early nineties, as the Bay Area’s hip-hop scene was becoming a national force, the studio attracted the likes of Digital Underground, whose record\u003cem> Sex Packets\u003c/em> was recorded at Hyde Street. Their young backup dancer, Tupac Shakur, returned to record his solo debut \u003cem>2Pacalypse Now\u003c/em>. Soon after, Ice Cube booked “like two months” of time for his up-and-coming cousin, Del the Funkee Homosapien. “Then he didn’t show up for five weeks,” recalls Ward. “That was a different time.” The following decade brought Green Day, Cake, Train — and more recently, Mark Kozelek, aka Sun Kil Moon, whose critically acclaimed record \u003cem>Benji\u003c/em> was recorded at Hyde Street over the course of six months in 2013.\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/begLNqsNusk'\n title='//www.youtube.com/embed/begLNqsNusk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those wondering how operating a recording studio in the year 2016 could possibly be a smart business choice, Ward has a candid answer: it isn’t. There have been months where he’s had to borrow money to pay the rent. Hyde Street has never been profitable, says the musician; it’s only become solvent, even, the past couple years.\u003c/p>\n\u003cp>“I gave up 25 years ago thinking I was ever going to make money on it. Survival was the thing,” he says. “And somehow, if I got to record there and not have to pay anybody else, that would justify it.”\u003c/p>\n\u003cfigure id=\"attachment_12290537\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12290537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg\" alt=\"The band: Michael Ward with Dogs and Fishes, in Studio A.\" width=\"960\" height=\"673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/13077010_1748483935396994_1099229872597900997_n-520x365.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band: Michael Ward with Dogs and Fishes, in Studio A. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Hyde Street’s independently functioning studios (engineers serve as co-owners, and pay rent), Ward currently rents out various rooms out of the 10,000-square-foot building to some 12 different vendors, including Cutting Edge, a recording equipment supplier whose co-owner also recently took over \u003ca href=\"http://www.studiodiscrete.com/#main\" target=\"_blank\" rel=\"noopener noreferrer\">what had been Studio D\u003c/a>.\u003c/p>\n\u003cp>But perhaps the most generous benefactor to Hyde Street Studios’ survival is also the most maligned, or certainly the most misunderstood: its surroundings.\u003c/p>\n\u003cfigure id=\"attachment_12291088\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3778079_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12291088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3778079_orig-1020x765.jpg\" alt=\"Samsaya outside Hyde Street Studios. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3778079_orig.jpg 1066w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samsaya outside Hyde Street Studios in 2016. \u003ccite>(Courtesy Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve been blessed with a particularly noxious social situation. We’re right on the fringes of the epicenter of the Tenderloin,” Ward says. “Between that and how much work someone would have to do to take this place over, and the crack and heroin that’s always been kind of swirling right outside the door…\u003c/p>\n\u003cp>“If it was in a nice neighborhood, we’d have been gone decades ago.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12288414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg\" alt=\"reeltoreel-break\" width=\"800\" height=\"69\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-160x14.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-768x66.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-240x21.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-375x32.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/ReeltoReel.Break_-520x45.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In June of this year, there was a show at Studio C — the live room that once served as the Grateful Dead’s practice space. Hosted by engineer Scott McDowell, it was a farewell show for (formerly local) electro-pop musician Katie Day; alt-country singer Michaela Anne, on tour from Nashville, served as opener; other San Francisco songwriters, like Max Lockwood Porter, played a few songs to kick off the night.\u003c/p>\n\u003cp>There were maybe 40 people there at the show’s peak, standing, sitting cross-legged on the floor, spilling out into the lounge, visiting the ever-popular vending machine with the one unmarked button that delivers a mystery-brand can of beer, or looking up at the walls, where certified gold records like \u003cem>2Pacalypse Now\u003c/em> and “The Humpty Dance” are encased in glass. Word had spread on Facebook, and attendees paid $5 at the front desk, where Susie Foot once sat, to get in. Grace Slick wasn’t there threatening to punch anybody, but it was a pretty damn good party.\u003c/p>\n\u003cp>“There’s a community there that you don’t get in other studios,” says \u003ca href=\"https://www.facebook.com/chuckprophetofficial/?fref=ts\" target=\"_blank\" rel=\"noopener noreferrer\">Chuck Prophet\u003c/a>, a prolific San Francisco troubadour who made use of the studio’s ’70s-era offerings, like the live echo chamber, on his forthcoming full-length,\u003cem> Bobby Fuller Died For Your Sins\u003c/em>. (Prophet’s history with the studio dates back to the early ’80s, when his high school band paid $5 an hour to practice in one of the rooms upstairs.)\u003c/p>\n\u003cp>“You do a record there, you’re gonna run into people in the hallways, in the break room, the kitchen. And that’s what music in the Bay Area has always been about.”\u003c/p>\n\u003cp>The sentiment circles back, unsurprisingly, to what Wally Heider knew along: you can’t underestimate the importance of cultivating a comfortable atmosphere for musicians.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“They treat people with respect,” says Prophet. “For a lot of people booking studio time, maybe this is the first time you’ve sung into a microphone. You’re standing there naked, baring your soul; you want to feel like you’re being taken care of. Studios that do that are a dying breed.”\u003c/p>\n\u003cp>As for the future, it remains — as it does in the music industry — uncertain.\u003c/p>\n\u003cp>Ward seems sanguine. “I still feel very invested in this project,” he says, “bringing it to successful fruition, not being driven out of the business. But the main motivation for all of this is to write music. That’s what I told Jack [Kertzman]. That’s what has justified it so far, and that’s what will guide me in the future.”\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/eCSYT5fX3D0'\n title='//www.youtube.com/embed/eCSYT5fX3D0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So no, after 36 years, he’s not planning on selling Hyde Street Studios anytime soon. He has, however, recently moved most of what was in Studio D to his home in the Sunset, and is enjoying having a studio in his house again. It’s nice to just go downstairs in his socks when he wants to record.\u003c/p>\n\u003cp>And there’s this: lately it’s gotten difficult to book studio time at his own studio. Business is, well, busy. Which should serve, maybe, as a small source of comfort to those who weren’t around for the so-called golden age, who didn’t hear the birth of the “San Francisco Sound” up close.\u003c/p>\n\u003cp>“I love that there’s such history at that studio, from [CSN&Y’s] ‘Teach Your Children’ to the Dead Kennedys,” says Prophet.\u003c/p>\n\u003cp>“But it’s also important to remember: People are making history here every day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music's Past (And Future)",
"headTitle": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music’s Past (And Future) | KQED",
"content": "\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291254039″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The collaboration stirred up controversy, but in the room at the CMA Awards, the performance of Beyoncé's \"Daddy Lessons\" felt like a precise recalibration of pop for a country setting.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\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/291254039″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/291254039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A New Look for an Ethiopian Princess, a French Duo, and a Young Group Joins the Circus",
"headTitle": "Cy and David’s Picks: A New Look for an Ethiopian Princess, a French Duo, and a Young Group Joins the Circus | KQED",
"content": "\u003cp>\u003cem>Every week, KQED’s Cy Musiker and the \u003c/em>San Francisco Chronicle\u003cem>’s David Wiegand share their picks for great events around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291386715″ 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>For this pre-election roundup, we have to first mention that comics \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are co-hosting \u003cem>One Nation Under Comedy \u003c/em>at the New Parkway on Friday night, Nov. 4th. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now for the list.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-OFTpzCxlrM\u003c/p>\n\u003cp>\u003cstrong>Nov. 5–Dec 6:\u003c/strong> The big news is the look. \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(with three other companies) is staging a brand-new production of Verdi’s \u003cem>Aida\u003c/em>, the story of an Egyptian military commander who falls for a Nubian princess enslaved by the Pharaoh. For the production, Los Angeles street artist Retna (Marquis Lewis) has created extravagantly colorful sets full of his hieroglyphic-like designs. Leah Crocetto, a young soprano with a gorgeous voice who trained at SF Opera’s Merola program, plays Aida, while tenor Brian Jagde plays Radamès. Details \u003ca href=\"http://sfopera.com/aida\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v_GJ7eO-_AM\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6\u003c/strong>: The Bay Area is a very flamenco-friendly place, partly because of the work of \u003ca href=\"http://www.theatreflamenco.org/\" target=\"_blank\" rel=\"noopener\">Theatre Flamenco\u003c/a>, which celebrates its 50th anniversary with the show\u003cem> El Latir del Tiempo\u003c/em> (\u003cem>The Beat of Time\u003c/em>). The company traces its history back to the 1950s, when Flamenco lovers would jam at the Spaghetti Factory in North Beach. Guests for these anniversary concerts include Spanish dancer Pastora Galván, who first performed with Theatre Flamenco at the age of 15, and singer Juana la del Pipa from Jerez de la Frontera (they also make Sherry there). Artistic Director Carola Zertuche, who has revitalized the company, is also celebrating her 10th season as artistic director. Sounds like a dance party. Details \u003ca href=\"http://www.theatreflamenco.org/new-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sqM3APrfijU\u003c/p>\n\u003cp>\u003cstrong>Nov. 10\u003c/strong>: Her is a French duo, Victor Solf and Simon Carpentier, who sing in English and seem to think that smooth jazz is still a happening thing. It’s the sort of insinuating music that would be great for cocktail parties or making out on the couch — and we’re down with that. Details for their show at the Rickshaw Stop in San Francisco on Thursday are \u003ca href=\"https://www.eventbrite.com/e/popscene-presents-monarchy-london-her-paris-tickets-27768033937\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg\" alt=\"Anna May Wong - Certificate of Identity from the National Archives\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-520x220.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna May Wong – Certificate of Identity from the National Archives. \u003ccite>(Photo: Courtesy of Chinese Historical Society of America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Opens Nov. 5:\u003c/strong> The \u003ca href=\"http://chsa.org/\" target=\"_blank\" rel=\"noopener\">Chinese Historical Society of America \u003c/a>in San Francisco is the oldest museum dedicated to the Chinese American experience in the United States, and it’s reopening after a summer of renovations to its Julia Morgan-designed building with a big exhibit, \u003cem>Chinese American: Exclusion/Inclusion\u003c/em>. (The show was organized by the \u003ca href=\"http://www.nyhistory.org/exhibitions/chineseamerican\" target=\"_blank\" rel=\"noopener\">New York Historical Society\u003c/a>). It’s about what it means to be Chinese American in a country that has alternately exploited Chinese labor and barred Chinese from entry. If you think it’s a new trend to blame immigrants for crime and taking American jobs, this exhibit will show how old and wrongheaded that kind of bigotry is, an important lesson this election year. Details \u003ca href=\"http://chsa.org/support/chineseamerican/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg\" alt=\"Performer TT Robson in a new circus show at Kinetic Arts Productions\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-520x299.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer TT Robson in a new circus show at Kinetic Arts Productions. \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 4–Dec 18\u003c/strong>: The Kinetic Arts Center is a little circus school in West Oakland, close to the West Oakland BART station, and for the second year in a row — like a scrappy little Cirque du Soleil — they’re putting on a show. This year, it’s called \u003cem>Inversion: Circus Disobedience\u003c/em> — a play on the phrase “civil disobedience.” Director Jaron Hollander is very eloquent in explaining why circus arts are a great way to tell a story: “It takes an amazing amount of passion to climb up on that trapeze to get that height,” Hollander told me, as kids tumbled and soared around us in the center’s warehouse like buiding. “So a person that is not as limited to gravity as most of us is incredibly powerful. The expression can go physically higher. But it also is deeper. The shape of a body in the air is just powerful.” Details on what should be a terrific show for adults and kids alike are \u003ca href=\"http://www.kineticartscenter.com/shows-events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jupzFlMrdig\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 7 and 8\u003c/strong>: Har Mar Superstar (Spencer Tillmann) is something of a joker, with a serious love of everything from old school R&B, to synth-pop, to proto-punk of the 1970s. His new album channels that affection into a fake greatest hits album, \u003cem>Best Summer Ever\u003c/em>, spanning 1950-1985. My partner in the Do List David Weigand swears he looks like \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-al-molinaro-dies-at-96-20151030-story.html\" target=\"_blank\" rel=\"noopener\">Al Molinaro\u003c/a> from \u003cem>Happy Days\u003c/em> and \u003cem>The Odd Couple\u003c/em>, but he agrees the music rocks. Details for his show at the Chapel on Monday are \u003ca href=\"https://www.ticketfly.com/purchase/event/1274743?_ga=1.106442051.1748831225.1478212911&__utma=1.1748831225.1478212911.1478212911.1478212911.1&__utmb=1.1.10.1478212911&__utmc=1&__utmx=-&__utmz=1.1478212911.1.1.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=163796159\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and his show at Don Quixote’s on Tuesday in Felton are \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Every week, KQED’s Cy Musiker and the \u003c/em>San Francisco Chronicle\u003cem>’s David Wiegand share their picks for great events around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291386715″&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/291386715″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For this pre-election roundup, we have to first mention that comics \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are co-hosting \u003cem>One Nation Under Comedy \u003c/em>at the New Parkway on Friday night, Nov. 4th. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/1897?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now for the list.\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/-OFTpzCxlrM'\n title='//www.youtube.com/embed/-OFTpzCxlrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 5–Dec 6:\u003c/strong> The big news is the look. \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(with three other companies) is staging a brand-new production of Verdi’s \u003cem>Aida\u003c/em>, the story of an Egyptian military commander who falls for a Nubian princess enslaved by the Pharaoh. For the production, Los Angeles street artist Retna (Marquis Lewis) has created extravagantly colorful sets full of his hieroglyphic-like designs. Leah Crocetto, a young soprano with a gorgeous voice who trained at SF Opera’s Merola program, plays Aida, while tenor Brian Jagde plays Radamès. Details \u003ca href=\"http://sfopera.com/aida\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v_GJ7eO-_AM'\n title='//www.youtube.com/embed/v_GJ7eO-_AM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 4–6\u003c/strong>: The Bay Area is a very flamenco-friendly place, partly because of the work of \u003ca href=\"http://www.theatreflamenco.org/\" target=\"_blank\" rel=\"noopener\">Theatre Flamenco\u003c/a>, which celebrates its 50th anniversary with the show\u003cem> El Latir del Tiempo\u003c/em> (\u003cem>The Beat of Time\u003c/em>). The company traces its history back to the 1950s, when Flamenco lovers would jam at the Spaghetti Factory in North Beach. Guests for these anniversary concerts include Spanish dancer Pastora Galván, who first performed with Theatre Flamenco at the age of 15, and singer Juana la del Pipa from Jerez de la Frontera (they also make Sherry there). Artistic Director Carola Zertuche, who has revitalized the company, is also celebrating her 10th season as artistic director. Sounds like a dance party. Details \u003ca href=\"http://www.theatreflamenco.org/new-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sqM3APrfijU'\n title='//www.youtube.com/embed/sqM3APrfijU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 10\u003c/strong>: Her is a French duo, Victor Solf and Simon Carpentier, who sing in English and seem to think that smooth jazz is still a happening thing. It’s the sort of insinuating music that would be great for cocktail parties or making out on the couch — and we’re down with that. Details for their show at the Rickshaw Stop in San Francisco on Thursday are \u003ca href=\"https://www.eventbrite.com/e/popscene-presents-monarchy-london-her-paris-tickets-27768033937\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg\" alt=\"Anna May Wong - Certificate of Identity from the National Archives\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion-520x220.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Chinese-Historical-Society-Inclusion-Exclusion.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna May Wong – Certificate of Identity from the National Archives. \u003ccite>(Photo: Courtesy of Chinese Historical Society of America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Opens Nov. 5:\u003c/strong> The \u003ca href=\"http://chsa.org/\" target=\"_blank\" rel=\"noopener\">Chinese Historical Society of America \u003c/a>in San Francisco is the oldest museum dedicated to the Chinese American experience in the United States, and it’s reopening after a summer of renovations to its Julia Morgan-designed building with a big exhibit, \u003cem>Chinese American: Exclusion/Inclusion\u003c/em>. (The show was organized by the \u003ca href=\"http://www.nyhistory.org/exhibitions/chineseamerican\" target=\"_blank\" rel=\"noopener\">New York Historical Society\u003c/a>). It’s about what it means to be Chinese American in a country that has alternately exploited Chinese labor and barred Chinese from entry. If you think it’s a new trend to blame immigrants for crime and taking American jobs, this exhibit will show how old and wrongheaded that kind of bigotry is, an important lesson this election year. Details \u003ca href=\"http://chsa.org/support/chineseamerican/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12295865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295865\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg\" alt=\"Performer TT Robson in a new circus show at Kinetic Arts Productions\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-960x552.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_58775a2720d243208f59b338d35dcdc6-mv2_d_4256_2832_s_4_2-e1478212253821-520x299.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer TT Robson in a new circus show at Kinetic Arts Productions. \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 4–Dec 18\u003c/strong>: The Kinetic Arts Center is a little circus school in West Oakland, close to the West Oakland BART station, and for the second year in a row — like a scrappy little Cirque du Soleil — they’re putting on a show. This year, it’s called \u003cem>Inversion: Circus Disobedience\u003c/em> — a play on the phrase “civil disobedience.” Director Jaron Hollander is very eloquent in explaining why circus arts are a great way to tell a story: “It takes an amazing amount of passion to climb up on that trapeze to get that height,” Hollander told me, as kids tumbled and soared around us in the center’s warehouse like buiding. “So a person that is not as limited to gravity as most of us is incredibly powerful. The expression can go physically higher. But it also is deeper. The shape of a body in the air is just powerful.” Details on what should be a terrific show for adults and kids alike are \u003ca href=\"http://www.kineticartscenter.com/shows-events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jupzFlMrdig'\n title='//www.youtube.com/embed/jupzFlMrdig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 7 and 8\u003c/strong>: Har Mar Superstar (Spencer Tillmann) is something of a joker, with a serious love of everything from old school R&B, to synth-pop, to proto-punk of the 1970s. His new album channels that affection into a fake greatest hits album, \u003cem>Best Summer Ever\u003c/em>, spanning 1950-1985. My partner in the Do List David Weigand swears he looks like \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-al-molinaro-dies-at-96-20151030-story.html\" target=\"_blank\" rel=\"noopener\">Al Molinaro\u003c/a> from \u003cem>Happy Days\u003c/em> and \u003cem>The Odd Couple\u003c/em>, but he agrees the music rocks. Details for his show at the Chapel on Monday are \u003ca href=\"https://www.ticketfly.com/purchase/event/1274743?_ga=1.106442051.1748831225.1478212911&__utma=1.1748831225.1478212911.1478212911.1478212911.1&__utmb=1.1.10.1478212911&__utmc=1&__utmx=-&__utmz=1.1478212911.1.1.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=163796159\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and his show at Don Quixote’s on Tuesday in Felton are \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Negativland Gives Definitive Interview on 'The Chopping Channel'",
"headTitle": "Negativland Gives Definitive Interview on ‘The Chopping Channel’ | KQED",
"content": "\u003cp>Late last month, the Concord-born experimental band Negativland released a new album, \u003ci>\u003ca href=\"http://boingboing.net/2016/10/17/negativlands-next-album-come.html\" target=\"_blank\" rel=\"noopener\">The Chopping Channel\u003c/a>.\u003c/i> Included in its packaging were artifacts from the band’s history, such as some of their loop cartridges or “\u003ca href=\"http://www.jimprice.com/prosound/carts.htm\" target=\"_blank\" rel=\"noopener\">carts\u003c/a>,” and, more notably, a few ounces of crematory ashes from Don Joyce, the long time Negativland member who died last July. \u003c/p>\n\u003cp>Their morbid packaging became a viral story on the internet, covered by Pitchfork, \u003cem>NME\u003c/em>, the AV Club and even NPR. Over 500 articles were published online. But if the members of Negativland are to be believed, only two reporters asked to listen to the album. (I was one of them.)\u003c/p>\n\u003cp>Good arts journalism dictates that reporters should make themselves familiar with the art they are reporting on, so it’s disappointing that so few made the effort. If they had, they would’ve been treated to a display of sampling virtuosity by masters of the form, set against a recurring Monty Python-flavored sketch skewering shopping-channel consumerism. \u003c/p>\n\u003cfigure id=\"attachment_12291842\" 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/Negativland_BudChoke-1020x1020.jpg\" alt='Picture of \"Bud Choke\"' width=\"640\" height=\"640\" class=\"size-large wp-image-12291842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Joyce as “Bud Choke.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Negativland has always favored sly subversion over preaching, and instead of smashing the listener over the head with “consumerism is bad,” \u003cem>The Chopping Channel\u003c/em> delivers graceful uppercuts of comedic timing and black humor. One of the album’s running gags is “Man of the World,” a character who, by his accent, is clearly “of the world” — but emerges as a greedy, chakra-hustling guru from Sausalito. As a comment on the dismal economic state of music, “Bud Choke,” the disembodied voice of Joyce, repeatedly informs the listener that “music has never been cheaper.” As for the songs, they’re reminiscent of Chrome, hometown heroes of psychedelic punk, at their weirdest.\u003c/p>\n\u003cp>When the band sent the answers to my questions this week, they informed me that this would be the “definitive” interview for this album. Presumably this means no outlet has asked about \u003cem>The Chopping Channel\u003c/em> in such detail, so here it is, uncut. (Okay, two questions were cut, but that’s because the questions were dumb.)\u003c/p>\n\u003cfigure id=\"attachment_12291840\" 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/Dons-ashes_large-1020x1360.jpg\" alt=\"Package of Don Joyce's ashes\" width=\"640\" height=\"853\" class=\"size-large wp-image-12291840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Package of Don Joyce’s ashes. \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is including the ashes of Don in the album’s package the most morbid prank you’ve ever pulled?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s actually not a prank at all, though we were well aware that we’d have to make sure people knew it wasn’t a hoax. A “prank” is a trick, but putting Don into the CD is not a trick: indeed, a CD buyer doesn’t automatically receive the ashes gift without specifically ordering from our website, which clearly explains what you get. For those folks purchasing through other streams of commerce, there’s a note inside of the CD itself saying they have to write to ask for it. Which we will send out to you, for free.\u003c/p>\n\u003cp>It was a leap of faith that committed fans would recognize this as the gift that it is, and treat the reality of it with a bit of respect. Of course, we also realized the sensational aspects of this kind of limited edition, and weren’t surprised that it went viral on some outlets that chose to emphasize it as a morbid bit of morning news banter (and just what exactly does one do with the ashes of a person whose creativity you have enjoyed, but whom you have never even met?).\u003c/p>\n\u003cp>The entire gesture is also tied to the content of the album, which imagines a shopping network where everything and anything can be productized and offered up for sale, including things made from human remains and bodily fluids. So why not add Don into the mix? It was too perfect of a gesture for us not to do it, as this was already slated to be our next release at the time of his death. It quickly took on new significance to us as a tribute to Don and his oft-stated commitment to art as his entire life’s purpose. He once spoke casually of committing suicide if the \u003cem>Over the Edge\u003c/em> radio show were ever canceled! He prioritized his art over sleep, health, a social life, and family; he was his work. So it made sense to transform it into a kind of memorial release, have it literally be Don, and, if our idea worked, bits of him would eventually be in the care of over 1,000 different people, literally all over of the world. It would be taking our 37 years of re-use/re-purposing ethic and aesthetic about as far as we could possibly imagine going with it.\u003c/p>\n\u003cp>It’s worth mentioning that Don was once on board with the idea of selling his teeth as a release on our web site, including the gold crowns, after he had a full-mouth extraction. It never happened, though, because he spontaneously just threw them out instead!\u003c/p>\n\u003cfigure id=\"attachment_12291846\" 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/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg\" alt=\"Cover for 'The Chopping Channel'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12291846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER-.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘The Chopping Channel.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the concept behind this album? \u003c/strong>\u003c/p>\n\u003cp>In the late ’90s, “The Chopping Channel” became a recurring theme on our weekly \u003cem>Over The Edge\u003c/em> radio program, a framework in which we could collaborate with fellow sampling artists (People Like Us, Yasuhiro Otani, Thomas Dimuzio and others) in the guise of a 24-hour-a-day shopping network, selling music by the second, atomized into easy-to-use fragmented streams; “More Music in Less Time.” The project was even performed in concert a few times. It took on a new dimension when we brought in longtime collaborator Mark Gergis (a.k.a. Porest), whose autodidactic ethnomusicology with the \u003ca href=\"http://www.sublimefrequencies.com/\" target=\"_blank\" rel=\"noopener\">Sublime Frequencies\u003c/a> label naturally led us to a new character: The Man From The World, an authentic foreigner from everywhere, here to sell you products extracted from the very soul of the world. His charisma and invaluable credibility forced us into uncharted territory, selling much more than just music — who would like to buy an hour of their own life? Or invest in ethnic prosthetics? Order now, and find out how.\u003c/p>\n\u003cp>\u003cstrong>What made you want to take on consumerism?\u003c/strong>\u003c/p>\n\u003cp>That’s a theme that we have been dealing with in our work since our \u003ca href=\"https://www.youtube.com/watch?v=DV08nrktjlI\" target=\"_blank\" rel=\"noopener\">very first LP\u003c/a>. But as they keep upping the ante in selling our own immaterial experiences and beliefs back to ourselves, we have to keep pace. While we hope it’s “funny” in a sort of Dada way to listen to, we hope that by the end of \u003cem>The Chopping Channel\u003c/em> a larger view is evoked about the utter insanity of the unsustainable socio-economic system that we all find ourselves trapped in. You are the product!\u003c/p>\n\u003cfigure id=\"attachment_12291841\" 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/Dons-audio-cart-and-bag_LARGE-1020x876.jpg\" alt=\"One of Joyce's "carts" used on his radio show, 'Over The Edge'\" width=\"640\" height=\"550\" class=\"size-large wp-image-12291841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-768x660.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1180x1013.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-960x825.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-520x447.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">One of Joyce’s “carts” used on his radio show, ‘Over The Edge.’ \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Will using cart machines become a lost art now that Don is gone?\u003c/strong>\u003c/p>\n\u003cp>Considering that he was, as far as we know, the only true artisan of the creative use of the long-dead technology of the tape cart machine as a layering and collaging tool, as opposed to just a delivery system for linear advertising, the art form may have died with him. If someone wants to pick up the baton, they should go for it; the gestures of juggling carts are a lot more fun than clicking and loading files. The inclusion of one of Don’s tape carts is as integral to the packaging as the ashes — those were his tools.\u003c/p>\n\u003cp>One of the most moving and emotionally satisfying parts of this project has been watching people post photographs of their cart as they receive it — closeups of Don’s handwriting on each label, indicating loops or cut-ups that were extremely well known to long time fans of the radio show. If you check out the release we did before this one, \u003cem>It’s All In Your Head\u003c/em>, you can hear great examples of the kind of real-time cut-ups Don was able to do with those cart machines, as that project was also created almost entirely from live performances.\u003c/p>\n\u003cp>\u003cstrong>What are some ideas Don brought to the table specifically for this album?\u003c/strong> \u003c/p>\n\u003cp>Most of the early shows were punctuated by Don’s monologues as Bud Choke; rants about usable music, shorn down to easily controllable granules that better suit our fast-paced lifestyles. Save time by throwing away all the parts of the music you no longer need! Don’s monologues on this subject are threaded throughout the album, and he used all three limbs to inject hundreds of microsamples into the mix, surfacing every once in a while long enough to yell, “I don’t know what these other guys are selling, but I’m selling music!” He was totally a part of creating the final CD edit and wrote liner notes in character as Bud. Don also happens to be very much a part of our current live stage show, even though he’s dead! We saw no reason to let that get in the way.\u003c/p>\n\u003cp>\u003cstrong>How much work went into doing the live radio shows?\u003c/strong>\u003c/p>\n\u003cp>Narrative ideas and potential products were determined in advance, but when broadcast time arrived, improvisation ruled. As when you go on vacation: only book a hotel for the first night, and don’t plan the rest in advance. Having said that, this album has more layering and editing of the original broadcasts than any of our \u003cem>Over the Edge\u003c/em> albums up to this point.\u003c/p>\n\u003cfigure id=\"attachment_12291844\" 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/Negativland_ManFromTheWorld-1020x1041.jpg\" alt='\"The Man From The World\"' width=\"640\" height=\"653\" class=\"size-large wp-image-12291844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-768x784.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1180x1204.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-960x980.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Man From The World.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What has this recent media blitz showed you? How many outlets have asked to listen to the new record?\u003c/strong>\u003c/p>\n\u003cp>Some things have changed, but at heart it is still media about media about media. Only now the cycles are instantaneous. Instead of mailing out a press release, the blog \u003cem>Boing Boing\u003c/em> invited us to make a slightly more informal guest post, which we mirrored on our Facebook page. Twenty-four hours later, an explosion of coverage appeared, lightly re-authoring our post. Almost no one contacted us for a comment or primary quote, virtually no one asked to hear the record, and no one was trying to find out if our announcement that this was not a hoax was itself a hoax — no time! It was fascinating to watch our casual Facebook posts and replies to fan comments become sources for certain reporters looking for more copy. We’re lucky those comments were chosen in a way that seemed sympathetic to the concept, because those quotes carried far. \u003c/p>\n\u003cp>Almost 30 years ago our \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">Helter Stupid\u003c/a>\u003c/em> prank illustrated just how vulnerable the media is to reporting outright hoaxes as facts, and how media coverage in and of itself tends to authenticate a “story” as a truth. On one level, the lessons of that prank now seem hilariously old-fashioned and trite: no one trusts the mainstream media anymore. An updated prank would illustrate how there is no dividing line between traditional media and the social media we now use to source our reality; we are even more vulnerable to confusing beliefs and facts when they are voiced by trusted online friends. \u003c/p>\n\u003cp>\u003cstrong>What has the media blown out of proportion or reported incorrectly?\u003c/strong>\u003c/p>\n\u003cp>As it went on, some upped the morbidity or sensationalism. One headline changed ‘ashes’ to ‘charred human remains’ — a far more clickable headline, prompting a very different emotional reaction to our memorial to Don. We weren’t surprised.\u003c/p>\n\u003cp>\u003cstrong>Have you sold a bunch of records because of the attention surrounding Don’s ashes?\u003c/strong>\u003c/p>\n\u003cp>It turns out that 1/4 teaspoon servings of Don go a lot further than we originally thought, so we were able to make 1000 stickered packets of him. That limited edition has been disappearing pretty quickly to the core group of people who follow the group. It’s certainly possible the publicity might bring curious listeners to Spotify, or YouTube.\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland in 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So we know that re-contextualization is a big part of your work. Is this album an example of you re-contextualizing your own recordings?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s certainly an example of re-contextualizing one of our own members! But the album audio itself is pretty much all new. As it has been coming on four decades of work, recently some old songs have found their way into our live concerts. It’s physically impossible to play them the same way we once did, and it appeals to us to mess them all up, so they end up sounding pretty different. It is admittedly fun to hear the audience cheer five seconds into a track once they recognize an opening sample. Give up!\u003c/p>\n\u003cp>\u003cstrong>Will a release come out of \u003cem>Beyond Over the Edge?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Some recent episodes of the post-Don \u003cem>Over The Edge\u003c/em> have basically been trial runs for sections of the next album in progress, which is still taking shape. Some bands break new material in on the road; we break the new material in on the air!\u003c/p>\n\u003cp>\u003cstrong>Have you gotten any good material from this election?\u003c/strong>\u003c/p>\n\u003cp>It’s already an artwork, or at least a narrative — it doesn’t need us. But we do love what \u003ca href=\"http://www.vdb.org/artists/bryan-boyce\" target=\"_blank\" rel=\"noopener\">Bryan Boyce\u003c/a> just made about it, which nearly seems to have made itself: \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEDuCvZIr4\u003c/p>\n\u003cp>\u003cstrong>Finally, what do you have against Sausalito?\u003c/strong>\u003c/p>\n\u003cp>We love houseboats, we are followers of Roy Harrison Kesketh and his spiritual practice there, we love ignoring alien orders. How could we not love Sausalito?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "When Negativland included the cremated ashes of band member Don Joyce in its new album, the story went viral — but nearly all coverage overlooked the album's subversive brilliance.",
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"description": "When Negativland included the cremated ashes of band member Don Joyce in its new album, the story went viral — but nearly all coverage overlooked the album's subversive brilliance.",
"title": "Negativland Gives Definitive Interview on 'The Chopping Channel' | KQED",
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"headline": "Negativland Gives Definitive Interview on 'The Chopping Channel'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late last month, the Concord-born experimental band Negativland released a new album, \u003ci>\u003ca href=\"http://boingboing.net/2016/10/17/negativlands-next-album-come.html\" target=\"_blank\" rel=\"noopener\">The Chopping Channel\u003c/a>.\u003c/i> Included in its packaging were artifacts from the band’s history, such as some of their loop cartridges or “\u003ca href=\"http://www.jimprice.com/prosound/carts.htm\" target=\"_blank\" rel=\"noopener\">carts\u003c/a>,” and, more notably, a few ounces of crematory ashes from Don Joyce, the long time Negativland member who died last July. \u003c/p>\n\u003cp>Their morbid packaging became a viral story on the internet, covered by Pitchfork, \u003cem>NME\u003c/em>, the AV Club and even NPR. Over 500 articles were published online. But if the members of Negativland are to be believed, only two reporters asked to listen to the album. (I was one of them.)\u003c/p>\n\u003cp>Good arts journalism dictates that reporters should make themselves familiar with the art they are reporting on, so it’s disappointing that so few made the effort. If they had, they would’ve been treated to a display of sampling virtuosity by masters of the form, set against a recurring Monty Python-flavored sketch skewering shopping-channel consumerism. \u003c/p>\n\u003cfigure id=\"attachment_12291842\" 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/Negativland_BudChoke-1020x1020.jpg\" alt='Picture of \"Bud Choke\"' width=\"640\" height=\"640\" class=\"size-large wp-image-12291842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_BudChoke-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Don Joyce as “Bud Choke.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Negativland has always favored sly subversion over preaching, and instead of smashing the listener over the head with “consumerism is bad,” \u003cem>The Chopping Channel\u003c/em> delivers graceful uppercuts of comedic timing and black humor. One of the album’s running gags is “Man of the World,” a character who, by his accent, is clearly “of the world” — but emerges as a greedy, chakra-hustling guru from Sausalito. As a comment on the dismal economic state of music, “Bud Choke,” the disembodied voice of Joyce, repeatedly informs the listener that “music has never been cheaper.” As for the songs, they’re reminiscent of Chrome, hometown heroes of psychedelic punk, at their weirdest.\u003c/p>\n\u003cp>When the band sent the answers to my questions this week, they informed me that this would be the “definitive” interview for this album. Presumably this means no outlet has asked about \u003cem>The Chopping Channel\u003c/em> in such detail, so here it is, uncut. (Okay, two questions were cut, but that’s because the questions were dumb.)\u003c/p>\n\u003cfigure id=\"attachment_12291840\" 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/Dons-ashes_large-1020x1360.jpg\" alt=\"Package of Don Joyce's ashes\" width=\"640\" height=\"853\" class=\"size-large wp-image-12291840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-ashes_large-520x693.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Package of Don Joyce’s ashes. \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is including the ashes of Don in the album’s package the most morbid prank you’ve ever pulled?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s actually not a prank at all, though we were well aware that we’d have to make sure people knew it wasn’t a hoax. A “prank” is a trick, but putting Don into the CD is not a trick: indeed, a CD buyer doesn’t automatically receive the ashes gift without specifically ordering from our website, which clearly explains what you get. For those folks purchasing through other streams of commerce, there’s a note inside of the CD itself saying they have to write to ask for it. Which we will send out to you, for free.\u003c/p>\n\u003cp>It was a leap of faith that committed fans would recognize this as the gift that it is, and treat the reality of it with a bit of respect. Of course, we also realized the sensational aspects of this kind of limited edition, and weren’t surprised that it went viral on some outlets that chose to emphasize it as a morbid bit of morning news banter (and just what exactly does one do with the ashes of a person whose creativity you have enjoyed, but whom you have never even met?).\u003c/p>\n\u003cp>The entire gesture is also tied to the content of the album, which imagines a shopping network where everything and anything can be productized and offered up for sale, including things made from human remains and bodily fluids. So why not add Don into the mix? It was too perfect of a gesture for us not to do it, as this was already slated to be our next release at the time of his death. It quickly took on new significance to us as a tribute to Don and his oft-stated commitment to art as his entire life’s purpose. He once spoke casually of committing suicide if the \u003cem>Over the Edge\u003c/em> radio show were ever canceled! He prioritized his art over sleep, health, a social life, and family; he was his work. So it made sense to transform it into a kind of memorial release, have it literally be Don, and, if our idea worked, bits of him would eventually be in the care of over 1,000 different people, literally all over of the world. It would be taking our 37 years of re-use/re-purposing ethic and aesthetic about as far as we could possibly imagine going with it.\u003c/p>\n\u003cp>It’s worth mentioning that Don was once on board with the idea of selling his teeth as a release on our web site, including the gold crowns, after he had a full-mouth extraction. It never happened, though, because he spontaneously just threw them out instead!\u003c/p>\n\u003cfigure id=\"attachment_12291846\" 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/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg\" alt=\"Cover for 'The Chopping Channel'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12291846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/NEGATIVLAND_The-Chopping-Channel_-_FRONT_COVER-.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for ‘The Chopping Channel.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was the concept behind this album? \u003c/strong>\u003c/p>\n\u003cp>In the late ’90s, “The Chopping Channel” became a recurring theme on our weekly \u003cem>Over The Edge\u003c/em> radio program, a framework in which we could collaborate with fellow sampling artists (People Like Us, Yasuhiro Otani, Thomas Dimuzio and others) in the guise of a 24-hour-a-day shopping network, selling music by the second, atomized into easy-to-use fragmented streams; “More Music in Less Time.” The project was even performed in concert a few times. It took on a new dimension when we brought in longtime collaborator Mark Gergis (a.k.a. Porest), whose autodidactic ethnomusicology with the \u003ca href=\"http://www.sublimefrequencies.com/\" target=\"_blank\" rel=\"noopener\">Sublime Frequencies\u003c/a> label naturally led us to a new character: The Man From The World, an authentic foreigner from everywhere, here to sell you products extracted from the very soul of the world. His charisma and invaluable credibility forced us into uncharted territory, selling much more than just music — who would like to buy an hour of their own life? Or invest in ethnic prosthetics? Order now, and find out how.\u003c/p>\n\u003cp>\u003cstrong>What made you want to take on consumerism?\u003c/strong>\u003c/p>\n\u003cp>That’s a theme that we have been dealing with in our work since our \u003ca href=\"https://www.youtube.com/watch?v=DV08nrktjlI\" target=\"_blank\" rel=\"noopener\">very first LP\u003c/a>. But as they keep upping the ante in selling our own immaterial experiences and beliefs back to ourselves, we have to keep pace. While we hope it’s “funny” in a sort of Dada way to listen to, we hope that by the end of \u003cem>The Chopping Channel\u003c/em> a larger view is evoked about the utter insanity of the unsustainable socio-economic system that we all find ourselves trapped in. You are the product!\u003c/p>\n\u003cfigure id=\"attachment_12291841\" 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/Dons-audio-cart-and-bag_LARGE-1020x876.jpg\" alt=\"One of Joyce's "carts" used on his radio show, 'Over The Edge'\" width=\"640\" height=\"550\" class=\"size-large wp-image-12291841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-768x660.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-1180x1013.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-960x825.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dons-audio-cart-and-bag_LARGE-520x447.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">One of Joyce’s “carts” used on his radio show, ‘Over The Edge.’ \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Will using cart machines become a lost art now that Don is gone?\u003c/strong>\u003c/p>\n\u003cp>Considering that he was, as far as we know, the only true artisan of the creative use of the long-dead technology of the tape cart machine as a layering and collaging tool, as opposed to just a delivery system for linear advertising, the art form may have died with him. If someone wants to pick up the baton, they should go for it; the gestures of juggling carts are a lot more fun than clicking and loading files. The inclusion of one of Don’s tape carts is as integral to the packaging as the ashes — those were his tools.\u003c/p>\n\u003cp>One of the most moving and emotionally satisfying parts of this project has been watching people post photographs of their cart as they receive it — closeups of Don’s handwriting on each label, indicating loops or cut-ups that were extremely well known to long time fans of the radio show. If you check out the release we did before this one, \u003cem>It’s All In Your Head\u003c/em>, you can hear great examples of the kind of real-time cut-ups Don was able to do with those cart machines, as that project was also created almost entirely from live performances.\u003c/p>\n\u003cp>\u003cstrong>What are some ideas Don brought to the table specifically for this album?\u003c/strong> \u003c/p>\n\u003cp>Most of the early shows were punctuated by Don’s monologues as Bud Choke; rants about usable music, shorn down to easily controllable granules that better suit our fast-paced lifestyles. Save time by throwing away all the parts of the music you no longer need! Don’s monologues on this subject are threaded throughout the album, and he used all three limbs to inject hundreds of microsamples into the mix, surfacing every once in a while long enough to yell, “I don’t know what these other guys are selling, but I’m selling music!” He was totally a part of creating the final CD edit and wrote liner notes in character as Bud. Don also happens to be very much a part of our current live stage show, even though he’s dead! We saw no reason to let that get in the way.\u003c/p>\n\u003cp>\u003cstrong>How much work went into doing the live radio shows?\u003c/strong>\u003c/p>\n\u003cp>Narrative ideas and potential products were determined in advance, but when broadcast time arrived, improvisation ruled. As when you go on vacation: only book a hotel for the first night, and don’t plan the rest in advance. Having said that, this album has more layering and editing of the original broadcasts than any of our \u003cem>Over the Edge\u003c/em> albums up to this point.\u003c/p>\n\u003cfigure id=\"attachment_12291844\" 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/Negativland_ManFromTheWorld-1020x1041.jpg\" alt='\"The Man From The World\"' width=\"640\" height=\"653\" class=\"size-large wp-image-12291844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1020x1041.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-768x784.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-1180x1204.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-960x980.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Negativland_ManFromTheWorld-64x64.jpg 64w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Man From The World.” \u003ccite>(Photo: Courtesy of Negativland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What has this recent media blitz showed you? How many outlets have asked to listen to the new record?\u003c/strong>\u003c/p>\n\u003cp>Some things have changed, but at heart it is still media about media about media. Only now the cycles are instantaneous. Instead of mailing out a press release, the blog \u003cem>Boing Boing\u003c/em> invited us to make a slightly more informal guest post, which we mirrored on our Facebook page. Twenty-four hours later, an explosion of coverage appeared, lightly re-authoring our post. Almost no one contacted us for a comment or primary quote, virtually no one asked to hear the record, and no one was trying to find out if our announcement that this was not a hoax was itself a hoax — no time! It was fascinating to watch our casual Facebook posts and replies to fan comments become sources for certain reporters looking for more copy. We’re lucky those comments were chosen in a way that seemed sympathetic to the concept, because those quotes carried far. \u003c/p>\n\u003cp>Almost 30 years ago our \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">Helter Stupid\u003c/a>\u003c/em> prank illustrated just how vulnerable the media is to reporting outright hoaxes as facts, and how media coverage in and of itself tends to authenticate a “story” as a truth. On one level, the lessons of that prank now seem hilariously old-fashioned and trite: no one trusts the mainstream media anymore. An updated prank would illustrate how there is no dividing line between traditional media and the social media we now use to source our reality; we are even more vulnerable to confusing beliefs and facts when they are voiced by trusted online friends. \u003c/p>\n\u003cp>\u003cstrong>What has the media blown out of proportion or reported incorrectly?\u003c/strong>\u003c/p>\n\u003cp>As it went on, some upped the morbidity or sensationalism. One headline changed ‘ashes’ to ‘charred human remains’ — a far more clickable headline, prompting a very different emotional reaction to our memorial to Don. We weren’t surprised.\u003c/p>\n\u003cp>\u003cstrong>Have you sold a bunch of records because of the attention surrounding Don’s ashes?\u003c/strong>\u003c/p>\n\u003cp>It turns out that 1/4 teaspoon servings of Don go a lot further than we originally thought, so we were able to make 1000 stickered packets of him. That limited edition has been disappearing pretty quickly to the core group of people who follow the group. It’s certainly possible the publicity might bring curious listeners to Spotify, or YouTube.\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland in 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So we know that re-contextualization is a big part of your work. Is this album an example of you re-contextualizing your own recordings?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s certainly an example of re-contextualizing one of our own members! But the album audio itself is pretty much all new. As it has been coming on four decades of work, recently some old songs have found their way into our live concerts. It’s physically impossible to play them the same way we once did, and it appeals to us to mess them all up, so they end up sounding pretty different. It is admittedly fun to hear the audience cheer five seconds into a track once they recognize an opening sample. Give up!\u003c/p>\n\u003cp>\u003cstrong>Will a release come out of \u003cem>Beyond Over the Edge?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Some recent episodes of the post-Don \u003cem>Over The Edge\u003c/em> have basically been trial runs for sections of the next album in progress, which is still taking shape. Some bands break new material in on the road; we break the new material in on the air!\u003c/p>\n\u003cp>\u003cstrong>Have you gotten any good material from this election?\u003c/strong>\u003c/p>\n\u003cp>It’s already an artwork, or at least a narrative — it doesn’t need us. 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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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