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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[\u003ca href=\"https://ww2.kqed.org/arts/2015/08/11/listen-in-be-calm-honchos-mean-pack/\" target=\"_blank\" rel=\"noopener\">Listen to Be Calm Honcho on Max Savage Levenson’s KQED Arts podcast ‘Listen In’ here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As for the symbolism of the baseball diamond, Harney explains that her father is a diehard baseball player and coach as well as a lifelong Giants fan, and her brother grew up sharing and emulating that passion. As such, “The baseball diamond has an explicit masculinity about it, and served as the arena where my brother played out a lot of his conflicting lives,” she says. “I wanted to reclaim that space for the women who sit on the sidelines in silent turmoil while their brothers, fathers, partners unreel their dark side.”\u003c/p>\n\u003cp>Harney adds that the band has gotten a lot of feedback about the “intensity” of the video, with some calling the violence “shocking.” She sees where that’s coming from — but says the duality of grace meeting violence was intentional. “This song is an anthem of solidarity, it is about ‘getting in formation,’ creating alliances and elevating each other. That process is beautiful to witness and can also be excruciating to execute. We wanted to capture that dynamic in the film.”\u003c/p>\n\u003cp>\u003cem>Be Calm Honcho’s next local show is \u003ca href=\"http://www.songkick.com/concerts/28269789-smokey-brights-at-hotel-utah-saloon?utm_source=11593&utm_medium=partner&utm_campaign=widget&utm_content=6765849\" target=\"_blank\" rel=\"noopener\">Sunday, Nov. 13 at the Hotel Utah Saloon\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college",
"title": "Fifty Years of Limitless Possibility at the Center for Contemporary Music at Mills College",
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"headTitle": "Fifty Years of Limitless Possibility at the Center for Contemporary Music at Mills College | KQED",
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"content": "\u003cp>Maggi Payne strides through the Center for Contemporary Music at Mills College, an 88-year-old structure in the Spanish Colonial style, and recalls how the stairwell once made a wonderful echo chamber. And then, around the corner, how performance artist Jim Pomeroy installed two towering cylinders in the concert hall foyer in 1979; reversed commercial vacuums, mounted upon ladders, blew air across the rims while water rushed from one to the other through a valve. One rose in pitch while the other fell, and it was “intensely loud — it beat like crazy on the octaves,” remembers Payne, 70 with a shock of frizzy long hair. “And there was too much water, so we all got sprayed.”\u003c/p>\n\u003cp>After touring the Littlefield Concert Hall — a 450-seat auditorium encircled by earthy frescoes and geometric ceiling tiles laid at rhythmic intervals — the CCM co-director and decades-long campus fixture leads me to the door of her shoebox office and accidentally triggers a deafening alarm. “Welcome to Mills,” she shouts over the scree. “You want oscillators? We’ve got ‘em.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The Center for Contemporary Music (CCM), established as the Mills Tape Music Center at Oakland’s historic liberal arts college 50 years ago, is a small institution with an outsized impact on the vanguard of 20th century music, boasting luminaries such as Robert Ashley, Steve Reich, Terry Riley, Pauline Oliveros, and Laurie Anderson among its graduates and faculty.\u003c/p>\n\u003cp>But CCM’s esteemed pedigree cultivated over the last half-century belies a freewheeling atmosphere, where professors often work with students as peers and collaborators both on and off campus. This writer once chanced upon William Winant, the celebrated percussionist and Mills mainstay, leading an ensemble through Reich’s \u003cem>Drumming\u003c/em> in an underground West Oakland venue. See, also, professor \u003ca href=\"https://www.youtube.com/watch?v=tLC1r4ETQP0\" target=\"_blank\" rel=\"noopener\">John Bischoff on YouTube\u003c/a> playing San Francisco’s long-running, clandestine noise series Godwaffle Noise Pancakes. And last year, Pauline Oliveros collaborated with the Thingamajigs Performance Ensemble, led by former students of hers, on a site-specific piece at Mario Ciampi’s imposing brutalist structure in Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_12260050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Oliveros_tape-800x620.jpg\" alt=\"Pauline Oliveros\" width=\"800\" height=\"620\" class=\"size-medium wp-image-12260050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-1180x914.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-960x744.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros \u003ccite>(Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The department’s pre-history — CCM emerged in 1966 from the San Francisco Tape Music Center, the countercultural collective that commissioned the late Donald Buchla’s eponymous, groundbreaking synthesizer — still colors a pedagogical emphasis on interdisciplinary collaboration, hands-on engineering, and aesthetic risk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And CCM remains integral to the Bay Area experimental music community, in recent years launching alumni into the murky regional underground, further fields of academia, and critical acclaim alike. Graduates include Zachary James Watkins, guitarist in the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener\">idiom-resistant improvisational duo\u003c/a> Black Spirituals; Madalyn Merkey, whose impressionistic, \u003ca href=\"http://www.eastbayexpress.com/oakland/madalyn-merkey-the-inquisitive-sound-artists-avant-garde-arcana/Content?oid=4247599\" target=\"_blank\" rel=\"noopener\">computer-music emulation of Oakland’s topography\u003c/a>, \u003cem>Valley Girl\u003c/em>, appeared in 2014; and Alexandra Buschman and Danishta Rivero of Las Sucias, who \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">noisily retool reggaetón\u003c/a> on this year’s riveting, deeply feminist \u003cem>¡Salte del Medio!\u003c/em>.\u003c/p>\n\u003cp>“The conceptual approach to music by many of the faculty was quite influential,” says Holly Herndon, who graduated in 2010 and continued studying at Stanford University while touring internationally in support of her lauded recordings for indie heavyweight 4AD, among other labels. Herndon’s music — ravishing and abstract patchworks of corroding beats and peculiarly affecting samples and voice — interrogates hallmarks of the digital age, such as surveillance and data mining. “It was less about the complexity or perfection of the musical idea and more about the conceptual idea, which is a more art-school than conservatory approach.”\u003c/p>\n\u003cfigure id=\"attachment_12259854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-800x533.jpg\" alt=\"Robert Ashley and David Behrman\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12259854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ashley and David Behrman \u003ccite>(Photo: Patricia Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herndon remembers how, in a class with CCM co-director Chris Brown, students composed under austere conditions — the first week, allotted only an input and output. “I used a broken boom box with a contact mic in its input, which created a crackling feedback and moan when I hovered over the speaker,” she says. “So it was a good exercise to try to create an interesting form, or narrative arc, as well as a performance of a piece of music with this limited palette. It helped people get over writing anxiety, and also this stumbling of needing the perfect setup, which I think can paralyze electronic musicians.”\u003c/p>\n\u003cp>Oliveros, 84, a composer-philosopher known for promoting a philosophical practice called Deep Listening, teaches via Skype and similarly challenges students with unusual scenarios. In the class just before we speak, for example, her students were oriented in the virtual world \u003cem>Second Life\u003c/em>, taught by a guest lecturer how to make their avatars stroll, jump, and create sounds. Oliveros’ 1979 ensemble work “Rock Piece” directs participants to steadily clack two rocks, only without synchronizing to or rhythmically subdividing the pulse of other players. It turns out, she says, that the exercise transposes nicely to virtual reality.\u003c/p>\n\u003cp>“Next week, we’ll meet in Second Life and everyone will perform their own pieces,” Oliveros tells me. “It’s difficult to remain ahead of the curve, technologically, but Mills has done very well, especially considering the limitations as far as funding. Everyone is very resourceful and that, I think, is more important than anything — more than having the latest gadget.”\u003c/p>\n\u003cp>Indeed, a 50-year-old synthesizer looms prominently in the Mills mythology.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nHujh3yA3BE\u003c/p>\n\u003cp>In 1961, Morton Subotnick and Ramon Sender founded a studio and venue called San Francisco Tape Music Center. (Oliveros, away for the founding, also played a central role.) A community organization that prized autonomy, inter-disciplinary experimentation, and public access, the Tape Music Center “avoided the sorts of orthodoxies that characterized the larger, more affluent studios,” writes David Bernstein, presently head of Mills’ music department, in a book on the center. “The facilities were modest; this led the composers to invent new sounds from everyday objects.”\u003c/p>\n\u003cp>In 1963, the Tape Music Center commissioned Donald Buchla to create what would become the “Buchla Box,” a voltage-control synthesizer enabled with sequencing and free of constricting, piano-like keyboards. Buchla, who \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/don-buchla-influential-synthesizer-designer-dead-at-79/\" target=\"_blank\" rel=\"noopener\">died last month\u003c/a>, discarded familiar interfaces and engineering terminology in favor of original, tactile controls and mystical descriptions aimed at uninhibited expression. In 1966, the Tape Music Center received a $200,000 Rockefeller Grant on the condition that it partner with an academic institution. When the center moved to Mills, Buchla’s machine came with it.\u003c/p>\n\u003cp>And there it remains. “I’ll explain filters,” Payne says, standing in front of the Buchla with a fistful of colorful patch cables like a Day-Glo bouquet. Conjuring sound from the modular array, she says, “Okay, so you can build your own storm,” and gestures toward the fluttering sine wave on a spectrometer. The signal grows dense and saturated. Payne smiles and, eliciting a skittish, pattering rhythm, adds, “I always joke that this is the sound of your upstairs neighbor.”\u003c/p>\n\u003cfigure id=\"attachment_12260049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-800x748.jpg\" alt=\"Pauline Oliveros using the Buchla\" width=\"800\" height=\"748\" class=\"size-medium wp-image-12260049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-800x748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-768x718.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-1180x1103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-960x898.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-375x351.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-520x486.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros using the Buchla \u003ccite>(Photo: Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many prospective students, Payne arrived at Mills after exhausting a more traditional, conservatory route. She’d taken up flute as a child and studied at Northwestern University, Yale (“It was boring, so I bailed”), and finally Champaign Urbana in Illinois, which boasted a Moog module. “I was already into extended techniques on the flute and especially spatialization, but I’d hit a wall,” she says. “And then Gordon Mumma said I should go to Mills and study with Bob Ashley.\u003c/p>\n\u003cp>“When I got here, [then CCM co-director] William Maraldo opened the door to this Buchla room and said, ‘Go for it. You’ll be teaching this next week.’” After graduating in 1972, she accepted an offer to join the staff. “My whole upbringing was contests. You had to be first chair. Here, I could compete with myself.” Deadpan, Payne adds, “It also seemed like a good idea to have a female composer teaching at a women’s college.”\u003c/p>\n\u003cp>(Graduate programs at Mills are co-ed; in 1990, the board of trustees decided to admit male undergraduates but reversed course after sustained student protest.)\u003c/p>\n\u003cp>The Mills Tape Music Center, as it was originally known, inherited more than its predecessor’s equipment. Oliveros was the first director, and Payne still keeps a vintage rate sheet for rentals (“Buchla Synthesizer with 2-track recorder, technical assistance included” came at a friendly $2.50/hour) that illustrates how Mills carried forward the center’s original emphasis on public access.\u003c/p>\n\u003cfigure id=\"attachment_12259852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BehrmanScientists-800x597.jpg\" alt='David Behrman and \"scientists\"' width=\"800\" height=\"597\" class=\"size-medium wp-image-12259852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-520x388.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Behrman and The Scientists (Vaypid Schmuey, Dr. S.O.Teric & Fast Forward) \u003ccite>(Photo: Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I could light candles and stay all night,” Suzanne Ciani tells me. The 70-year-old artist first encountered the Buchla, an instrument she’d use as a celebrated composer and sound designer in the ensuing decades, through CCM’s rental program in 1969 (although, she concedes, no one ever seemed to collect money). “I did my first commercials there, for Macy’s, and my first electronic piece, \u003cem>Kodashim\u003c/em>. I wasn’t aware at the time that this poetry of sound would become my trademark. I was after the sound of cold, the sound of hot. I’d say, ‘Gee, what does a fur coat sound like?'” she says. “I learned there was another mode of communication through electronics; it was so new and undefined then that I could define things in an emotional way.\u003c/p>\n\u003cp>“Of course,” she continues, “I remember bringing an electronic piece to my composition program over at Berkeley and they basically kicked me out. In the 1960s, there was no other institutional support for this stuff.”\u003c/p>\n\u003cp>Robert Ashley, who led CCM in the 1970s, is renowned for his singular, expanded operas for television such as \u003cem>Perfect Lives\u003c/em>, and his video portrait series of composers, \u003cem>Music with Roots in the Aether\u003c/em>. “Inter-disciplinary” and “multimedia,” crucial to the original mandate of Tape Music Center, today ring like somewhat quaint phrases, but Ashley’s bizarre collisions of screenwriting and composition, video art and anthropology remain brazen transgressions of formal and genre boundaries.\u003c/p>\n\u003cp>Ashley’s colleagues at Mills helped realize much of his bracingly original work. Paul DeMarinis and “Blue” Gene Tyranny, esteemed composers in their own right, co-wrote, performed on, and engineered Ashley titles recorded at CCM such as \u003cem>In Sara, Mencken, Christ and Beethoven There Were Men and Women\u003c/em>; \u003cem>Private Parts\u003c/em>; and \u003cem>Automatic Writing\u003c/em>. Payne approvingly notes that Ashley was fond of saying, “If you’re not weird, get out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rh_TC8j_JkE\u003c/p>\n\u003cp>Payne describes the production of the \u003cem>Music with Roots in the Aether\u003c/em> installment focused on the composer David Behrman, a CCM co-director and close collaborator of Ashley’s: they rose before dawn, for the soft light, and met at Tiburon before heading to Angel Island. There, they piled into pickup trucks and headed to the peak. Philip Makanna, the videographer, shot out of a helicopter that flew beneath the Golden Gate Bridge, curved over the marina, and, after his camera found Behrman and Ashley at a picnic table, touched down atop the island. Payne, tasked with engineering sound, improvised a windscreen with her parachute and fended off intruding radio signals.\u003c/p>\n\u003cp>“Your experience of music is so private, if you want it to be,” Behrman says in the video to Ashley, who responds, “Well, that would go along with the idea that everyone is the center of the universe.”\u003c/p>\n\u003cp>The arrivals of Behrman and David Rosenboom, the composer and electronic instrument builder, pivoted CCM towards the forefront of digital synthesis and computer music. They looked to collapse the differences between composition, programming, and engineering — empowering artists to invent tools as well as use them.\u003c/p>\n\u003cfigure id=\"attachment_12259853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-800x1200.jpg\" alt=\"David Behrman\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12259853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Behrman \u003ccite>(Photo: Patricia Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mills was really transformative for me in this area,” Herndon tells me. “I learned [multimedia programming language] Max/MSP, how to make my own hardware, and how to write for multichannel systems. So, being taught new skills was a big part of knowing what was possible.”\u003c/p>\n\u003cp>“We knew how to build, how to solder, but David [Behrman] knew computers,” Payne says. “And that influenced a whole swathe of people.” In 1977, Behrman convened Payne, playing flute, and bassoonist Arthur Stidfole to explore the interactive potential of a microcomputer. “It was our first time playing together, and we were told what notes would trigger what electronic effect,” Payne recalls. “It was so beautiful and sophisticated.”\u003c/p>\n\u003cp>Behrman’s later reflection on the session, which yielded the title track to his album \u003cem>On the Other Ocean\u003c/em>, reveals a resonant, enduring sense of play and possibility that continues to animate the Center for Contemporary Music.\u003c/p>\n\u003cp>“Various enthusiasms contributed to the making of \u003cem>On the Other Ocean\u003c/em>,” read his album liner notes, “for pure tunings and simple ratios; for homemade electronics with its mysterious knobs, its lexan enclosures with the screw-holes drilled not quite in the right places and its hand-wired circuit boards inside; for idiosyncratic brews of electronic timbres that were not trying to imitate the sounds of the real world.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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": "The Center for Contemporary Music (CCM), established as the Mills Tape Music Center at Oakland’s historic liberal arts college 50 years ago, is a small institution with an outsized impact on the vanguard of 20th century music.",
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"title": "Fifty Years of Limitless Possibility at the Center for Contemporary Music at Mills College | KQED",
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"headline": "Fifty Years of Limitless Possibility at the Center for Contemporary Music at Mills College",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggi Payne strides through the Center for Contemporary Music at Mills College, an 88-year-old structure in the Spanish Colonial style, and recalls how the stairwell once made a wonderful echo chamber. And then, around the corner, how performance artist Jim Pomeroy installed two towering cylinders in the concert hall foyer in 1979; reversed commercial vacuums, mounted upon ladders, blew air across the rims while water rushed from one to the other through a valve. One rose in pitch while the other fell, and it was “intensely loud — it beat like crazy on the octaves,” remembers Payne, 70 with a shock of frizzy long hair. “And there was too much water, so we all got sprayed.”\u003c/p>\n\u003cp>After touring the Littlefield Concert Hall — a 450-seat auditorium encircled by earthy frescoes and geometric ceiling tiles laid at rhythmic intervals — the CCM co-director and decades-long campus fixture leads me to the door of her shoebox office and accidentally triggers a deafening alarm. “Welcome to Mills,” she shouts over the scree. “You want oscillators? We’ve got ‘em.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>The Center for Contemporary Music (CCM), established as the Mills Tape Music Center at Oakland’s historic liberal arts college 50 years ago, is a small institution with an outsized impact on the vanguard of 20th century music, boasting luminaries such as Robert Ashley, Steve Reich, Terry Riley, Pauline Oliveros, and Laurie Anderson among its graduates and faculty.\u003c/p>\n\u003cp>But CCM’s esteemed pedigree cultivated over the last half-century belies a freewheeling atmosphere, where professors often work with students as peers and collaborators both on and off campus. This writer once chanced upon William Winant, the celebrated percussionist and Mills mainstay, leading an ensemble through Reich’s \u003cem>Drumming\u003c/em> in an underground West Oakland venue. See, also, professor \u003ca href=\"https://www.youtube.com/watch?v=tLC1r4ETQP0\" target=\"_blank\" rel=\"noopener\">John Bischoff on YouTube\u003c/a> playing San Francisco’s long-running, clandestine noise series Godwaffle Noise Pancakes. And last year, Pauline Oliveros collaborated with the Thingamajigs Performance Ensemble, led by former students of hers, on a site-specific piece at Mario Ciampi’s imposing brutalist structure in Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_12260050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Oliveros_tape-800x620.jpg\" alt=\"Pauline Oliveros\" width=\"800\" height=\"620\" class=\"size-medium wp-image-12260050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-1180x914.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-960x744.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_tape-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros \u003ccite>(Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The department’s pre-history — CCM emerged in 1966 from the San Francisco Tape Music Center, the countercultural collective that commissioned the late Donald Buchla’s eponymous, groundbreaking synthesizer — still colors a pedagogical emphasis on interdisciplinary collaboration, hands-on engineering, and aesthetic risk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And CCM remains integral to the Bay Area experimental music community, in recent years launching alumni into the murky regional underground, further fields of academia, and critical acclaim alike. Graduates include Zachary James Watkins, guitarist in the \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener\">idiom-resistant improvisational duo\u003c/a> Black Spirituals; Madalyn Merkey, whose impressionistic, \u003ca href=\"http://www.eastbayexpress.com/oakland/madalyn-merkey-the-inquisitive-sound-artists-avant-garde-arcana/Content?oid=4247599\" target=\"_blank\" rel=\"noopener\">computer-music emulation of Oakland’s topography\u003c/a>, \u003cem>Valley Girl\u003c/em>, appeared in 2014; and Alexandra Buschman and Danishta Rivero of Las Sucias, who \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">noisily retool reggaetón\u003c/a> on this year’s riveting, deeply feminist \u003cem>¡Salte del Medio!\u003c/em>.\u003c/p>\n\u003cp>“The conceptual approach to music by many of the faculty was quite influential,” says Holly Herndon, who graduated in 2010 and continued studying at Stanford University while touring internationally in support of her lauded recordings for indie heavyweight 4AD, among other labels. Herndon’s music — ravishing and abstract patchworks of corroding beats and peculiarly affecting samples and voice — interrogates hallmarks of the digital age, such as surveillance and data mining. “It was less about the complexity or perfection of the musical idea and more about the conceptual idea, which is a more art-school than conservatory approach.”\u003c/p>\n\u003cfigure id=\"attachment_12259854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-800x533.jpg\" alt=\"Robert Ashley and David Behrman\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12259854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/R-to-L-Robert-Ashley-and-David-Behrman-Photograph-by-Patricia-Kelley-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ashley and David Behrman \u003ccite>(Photo: Patricia Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Herndon remembers how, in a class with CCM co-director Chris Brown, students composed under austere conditions — the first week, allotted only an input and output. “I used a broken boom box with a contact mic in its input, which created a crackling feedback and moan when I hovered over the speaker,” she says. “So it was a good exercise to try to create an interesting form, or narrative arc, as well as a performance of a piece of music with this limited palette. It helped people get over writing anxiety, and also this stumbling of needing the perfect setup, which I think can paralyze electronic musicians.”\u003c/p>\n\u003cp>Oliveros, 84, a composer-philosopher known for promoting a philosophical practice called Deep Listening, teaches via Skype and similarly challenges students with unusual scenarios. In the class just before we speak, for example, her students were oriented in the virtual world \u003cem>Second Life\u003c/em>, taught by a guest lecturer how to make their avatars stroll, jump, and create sounds. Oliveros’ 1979 ensemble work “Rock Piece” directs participants to steadily clack two rocks, only without synchronizing to or rhythmically subdividing the pulse of other players. It turns out, she says, that the exercise transposes nicely to virtual reality.\u003c/p>\n\u003cp>“Next week, we’ll meet in Second Life and everyone will perform their own pieces,” Oliveros tells me. “It’s difficult to remain ahead of the curve, technologically, but Mills has done very well, especially considering the limitations as far as funding. Everyone is very resourceful and that, I think, is more important than anything — more than having the latest gadget.”\u003c/p>\n\u003cp>Indeed, a 50-year-old synthesizer looms prominently in the Mills mythology.\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/nHujh3yA3BE'\n title='//www.youtube.com/embed/nHujh3yA3BE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1961, Morton Subotnick and Ramon Sender founded a studio and venue called San Francisco Tape Music Center. (Oliveros, away for the founding, also played a central role.) A community organization that prized autonomy, inter-disciplinary experimentation, and public access, the Tape Music Center “avoided the sorts of orthodoxies that characterized the larger, more affluent studios,” writes David Bernstein, presently head of Mills’ music department, in a book on the center. “The facilities were modest; this led the composers to invent new sounds from everyday objects.”\u003c/p>\n\u003cp>In 1963, the Tape Music Center commissioned Donald Buchla to create what would become the “Buchla Box,” a voltage-control synthesizer enabled with sequencing and free of constricting, piano-like keyboards. Buchla, who \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/don-buchla-influential-synthesizer-designer-dead-at-79/\" target=\"_blank\" rel=\"noopener\">died last month\u003c/a>, discarded familiar interfaces and engineering terminology in favor of original, tactile controls and mystical descriptions aimed at uninhibited expression. In 1966, the Tape Music Center received a $200,000 Rockefeller Grant on the condition that it partner with an academic institution. When the center moved to Mills, Buchla’s machine came with it.\u003c/p>\n\u003cp>And there it remains. “I’ll explain filters,” Payne says, standing in front of the Buchla with a fistful of colorful patch cables like a Day-Glo bouquet. Conjuring sound from the modular array, she says, “Okay, so you can build your own storm,” and gestures toward the fluttering sine wave on a spectrometer. The signal grows dense and saturated. Payne smiles and, eliciting a skittish, pattering rhythm, adds, “I always joke that this is the sound of your upstairs neighbor.”\u003c/p>\n\u003cfigure id=\"attachment_12260049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-800x748.jpg\" alt=\"Pauline Oliveros using the Buchla\" width=\"800\" height=\"748\" class=\"size-medium wp-image-12260049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-800x748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-768x718.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-1180x1103.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-960x898.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-240x224.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-375x351.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Oliveros_Buchla-520x486.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros using the Buchla \u003ccite>(Photo: Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many prospective students, Payne arrived at Mills after exhausting a more traditional, conservatory route. She’d taken up flute as a child and studied at Northwestern University, Yale (“It was boring, so I bailed”), and finally Champaign Urbana in Illinois, which boasted a Moog module. “I was already into extended techniques on the flute and especially spatialization, but I’d hit a wall,” she says. “And then Gordon Mumma said I should go to Mills and study with Bob Ashley.\u003c/p>\n\u003cp>“When I got here, [then CCM co-director] William Maraldo opened the door to this Buchla room and said, ‘Go for it. You’ll be teaching this next week.’” After graduating in 1972, she accepted an offer to join the staff. “My whole upbringing was contests. You had to be first chair. Here, I could compete with myself.” Deadpan, Payne adds, “It also seemed like a good idea to have a female composer teaching at a women’s college.”\u003c/p>\n\u003cp>(Graduate programs at Mills are co-ed; in 1990, the board of trustees decided to admit male undergraduates but reversed course after sustained student protest.)\u003c/p>\n\u003cp>The Mills Tape Music Center, as it was originally known, inherited more than its predecessor’s equipment. Oliveros was the first director, and Payne still keeps a vintage rate sheet for rentals (“Buchla Synthesizer with 2-track recorder, technical assistance included” came at a friendly $2.50/hour) that illustrates how Mills carried forward the center’s original emphasis on public access.\u003c/p>\n\u003cfigure id=\"attachment_12259852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/BehrmanScientists-800x597.jpg\" alt='David Behrman and \"scientists\"' width=\"800\" height=\"597\" class=\"size-medium wp-image-12259852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/BehrmanScientists-520x388.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Behrman and The Scientists (Vaypid Schmuey, Dr. S.O.Teric & Fast Forward) \u003ccite>(Photo: Courtesy of the CCM Archive, Mills College )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I could light candles and stay all night,” Suzanne Ciani tells me. The 70-year-old artist first encountered the Buchla, an instrument she’d use as a celebrated composer and sound designer in the ensuing decades, through CCM’s rental program in 1969 (although, she concedes, no one ever seemed to collect money). “I did my first commercials there, for Macy’s, and my first electronic piece, \u003cem>Kodashim\u003c/em>. I wasn’t aware at the time that this poetry of sound would become my trademark. I was after the sound of cold, the sound of hot. I’d say, ‘Gee, what does a fur coat sound like?'” she says. “I learned there was another mode of communication through electronics; it was so new and undefined then that I could define things in an emotional way.\u003c/p>\n\u003cp>“Of course,” she continues, “I remember bringing an electronic piece to my composition program over at Berkeley and they basically kicked me out. In the 1960s, there was no other institutional support for this stuff.”\u003c/p>\n\u003cp>Robert Ashley, who led CCM in the 1970s, is renowned for his singular, expanded operas for television such as \u003cem>Perfect Lives\u003c/em>, and his video portrait series of composers, \u003cem>Music with Roots in the Aether\u003c/em>. “Inter-disciplinary” and “multimedia,” crucial to the original mandate of Tape Music Center, today ring like somewhat quaint phrases, but Ashley’s bizarre collisions of screenwriting and composition, video art and anthropology remain brazen transgressions of formal and genre boundaries.\u003c/p>\n\u003cp>Ashley’s colleagues at Mills helped realize much of his bracingly original work. Paul DeMarinis and “Blue” Gene Tyranny, esteemed composers in their own right, co-wrote, performed on, and engineered Ashley titles recorded at CCM such as \u003cem>In Sara, Mencken, Christ and Beethoven There Were Men and Women\u003c/em>; \u003cem>Private Parts\u003c/em>; and \u003cem>Automatic Writing\u003c/em>. Payne approvingly notes that Ashley was fond of saying, “If you’re not weird, get out.”\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/Rh_TC8j_JkE'\n title='//www.youtube.com/embed/Rh_TC8j_JkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Payne describes the production of the \u003cem>Music with Roots in the Aether\u003c/em> installment focused on the composer David Behrman, a CCM co-director and close collaborator of Ashley’s: they rose before dawn, for the soft light, and met at Tiburon before heading to Angel Island. There, they piled into pickup trucks and headed to the peak. Philip Makanna, the videographer, shot out of a helicopter that flew beneath the Golden Gate Bridge, curved over the marina, and, after his camera found Behrman and Ashley at a picnic table, touched down atop the island. Payne, tasked with engineering sound, improvised a windscreen with her parachute and fended off intruding radio signals.\u003c/p>\n\u003cp>“Your experience of music is so private, if you want it to be,” Behrman says in the video to Ashley, who responds, “Well, that would go along with the idea that everyone is the center of the universe.”\u003c/p>\n\u003cp>The arrivals of Behrman and David Rosenboom, the composer and electronic instrument builder, pivoted CCM towards the forefront of digital synthesis and computer music. They looked to collapse the differences between composition, programming, and engineering — empowering artists to invent tools as well as use them.\u003c/p>\n\u003cfigure id=\"attachment_12259853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-800x1200.jpg\" alt=\"David Behrman\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12259853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/David-Behrman-photo-by-Patricia-Kelley-1-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Behrman \u003ccite>(Photo: Patricia Kelley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mills was really transformative for me in this area,” Herndon tells me. “I learned [multimedia programming language] Max/MSP, how to make my own hardware, and how to write for multichannel systems. So, being taught new skills was a big part of knowing what was possible.”\u003c/p>\n\u003cp>“We knew how to build, how to solder, but David [Behrman] knew computers,” Payne says. “And that influenced a whole swathe of people.” In 1977, Behrman convened Payne, playing flute, and bassoonist Arthur Stidfole to explore the interactive potential of a microcomputer. “It was our first time playing together, and we were told what notes would trigger what electronic effect,” Payne recalls. “It was so beautiful and sophisticated.”\u003c/p>\n\u003cp>Behrman’s later reflection on the session, which yielded the title track to his album \u003cem>On the Other Ocean\u003c/em>, reveals a resonant, enduring sense of play and possibility that continues to animate the Center for Contemporary Music.\u003c/p>\n\u003cp>“Various enthusiasms contributed to the making of \u003cem>On the Other Ocean\u003c/em>,” read his album liner notes, “for pure tunings and simple ratios; for homemade electronics with its mysterious knobs, its lexan enclosures with the screw-holes drilled not quite in the right places and its hand-wired circuit boards inside; for idiosyncratic brews of electronic timbres that were not trying to imitate the sounds of the real world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Bay Area vocalists below.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Voices_2016_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>As the leader of the Magik*Magik Orchestra, San Francisco’s Minna Choi has contributed orchestral accompaniments to live performances and albums by countless acclaimed artists over the years. More recently, though, Choi announced a solo project under the \u003cstrong>\u003ca href=\"https://www.facebook.com/magikmagik\" target=\"_blank\" rel=\"noopener\">Magik*Magik\u003c/a>\u003c/strong> moniker, and unveiled a stunning duet with How To Dress Well. “Laugh a Lot” reveals Choi as not just a gifted composer, arranger, and conductor, but also as an impressive vocalist in her own right.\u003c/p>\n\u003cp>More broadly, the song’s spare arrangement highlights the power of the unadorned human voice. We’ve done a few mixtapes over the years showcasing music without vocals, including \u003ca href=\"https://ww2.kqed.org/arts/2016/02/24/mixtape-the-bay-areas-best-gloomy-intense-post-punk-and-industrial-sounds/\" target=\"_blank\" rel=\"noopener\">our recent post-punk collection\u003c/a>, but haven’t dedicated a mix to highlight some of the great voices possessed by talented local artists. Perhaps it’s too easy to take good voices for granted, or to overlook lesser vocals when a melody or musical performance is particularly strong.\u003c/p>\n\u003cp>In any event, this mixtape collects 10 talented local musicians and bands that deliver stellar vocal performances. Not stellar in some rigid, objective sense of expansive vocal range or accurate pitch, but in creating real emotional impact. Unsurprisingly, there’s a soulfulness to a lot of the music here, with a number of the artists confronting political and personal subjects with direct and often heart-wrenching lyrics.\u003c/p>\n\u003cp>Learn more each these local artists in the episode and enjoy the mix below.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/DONCATmusic\">DonCat\u003c/a>\u003c/strong> – “Untrue”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/magikmagik\">Magik*Magik\u003c/a>\u003c/strong> – “Laugh a Lot (feat. How To Dress Well)”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/fantasticnegrito\">Fantastic Negrito\u003c/a>\u003c/strong> – “Working Poor”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tabtabnacle\">Tabernacle\u003c/a>\u003c/strong> – “Home to Stay”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thebandconbrio\">Con Brio\u003c/a>\u003c/strong> – “Free & Brave”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/emilyjanewhiteofficial/\">Emily Jane White\u003c/a>\u003c/strong> – “Frozen Garden”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/doughreamblunt\">Doug Hream Blunt\u003c/a>\u003c/strong> – “Gentle Persuasion”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theseshen\">The Seshen\u003c/a>\u003c/strong> – “Distant Heart”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/mlockwoodporter\">M. Lockwood Porter\u003c/a>\u003c/strong> – “Burn Away”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ScaryLittleFriends/\">Scary Little Friends\u003c/a>\u003c/strong> – “In This Lifetime”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of Bay Area vocalists below.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Voices_2016_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>As the leader of the Magik*Magik Orchestra, San Francisco’s Minna Choi has contributed orchestral accompaniments to live performances and albums by countless acclaimed artists over the years. More recently, though, Choi announced a solo project under the \u003cstrong>\u003ca href=\"https://www.facebook.com/magikmagik\" target=\"_blank\" rel=\"noopener\">Magik*Magik\u003c/a>\u003c/strong> moniker, and unveiled a stunning duet with How To Dress Well. “Laugh a Lot” reveals Choi as not just a gifted composer, arranger, and conductor, but also as an impressive vocalist in her own right.\u003c/p>\n\u003cp>More broadly, the song’s spare arrangement highlights the power of the unadorned human voice. We’ve done a few mixtapes over the years showcasing music without vocals, including \u003ca href=\"https://ww2.kqed.org/arts/2016/02/24/mixtape-the-bay-areas-best-gloomy-intense-post-punk-and-industrial-sounds/\" target=\"_blank\" rel=\"noopener\">our recent post-punk collection\u003c/a>, but haven’t dedicated a mix to highlight some of the great voices possessed by talented local artists. Perhaps it’s too easy to take good voices for granted, or to overlook lesser vocals when a melody or musical performance is particularly strong.\u003c/p>\n\u003cp>In any event, this mixtape collects 10 talented local musicians and bands that deliver stellar vocal performances. Not stellar in some rigid, objective sense of expansive vocal range or accurate pitch, but in creating real emotional impact. Unsurprisingly, there’s a soulfulness to a lot of the music here, with a number of the artists confronting political and personal subjects with direct and often heart-wrenching lyrics.\u003c/p>\n\u003cp>Learn more each these local artists in the episode and enjoy the mix below.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Everyone knows the way to San Jose by now. But finding its pulse and unique voice is the new challenge of the day, one that Cellista has taken head-on in her debut solo album, \u003ca href=\"https://cellista.bandcamp.com/album/finding-san-jos\" target=\"_blank\" rel=\"noopener\">\u003cem>Finding San Jose\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cellista (born Freya Seeburger in 1983, in Colorado) arrived onto the San Jose art scene during the autumn of 2010; she firmly planted her black Luis & Clarke carbon fibre cello into the soil of Silicon Valley and has nurtured its roots ever since. Ask her about being a musician in San Jose and she’ll tell you a love story full of hopes, accomplishments and heartbreak. Each track of the album is the response of a musician to finding an independent voice in a place bustling with talent and creativity, both often overshadowed by the tech and manufacturing industries.\u003c/p>\n\u003cfigure id=\"attachment_12229090\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12229090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg\" alt=\"Cellista art installation & performance at SubZERO Festival 2014\" width=\"420\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-375x563.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014 \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her first impression of San Jose — and the reason she and husband Nico decided to move here — was the abundance of the visual arts. “It’s everywhere,” she says. “I’ve never seen anything like it. The community is really strong, really collaborative and really encouraging and in a way that’s completely different from other scenes. It’s special and unique in a way I’ve never seen, even compared to Denver or Paris and other cities, in all my traveling. It just made me want to have a new relationship with art and art making, and my cello is my tool.”\u003c/p>\n\u003cp>One of Cellista’s earliest tool-wielding performances was an outdoor art installation she and visual artist \u003ca href=\"http://tulioflores.com/\" target=\"_blank\" rel=\"noopener\">Tulio Flores\u003c/a> envisioned for the 2014 \u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">SubZERO Festival\u003c/a>. Together they created a dramatic bird cage, large enough to stage her cello and a looping station, and invited audience members to write something about themselves and San Jose on tags that would be tied to the cage. Throughout the event, Cellista chose random tags, using them to improvise music inspired by the feeling the words gave her, and would even vocalize their words through her looping station to add texture to her melodies. “They left very confessional thoughts on those tags,” she says, “as if it were a very sacred space.”\u003c/p>\n\u003cfigure id=\"attachment_12228689\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12228689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg\" width=\"520\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-240x234.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-375x366.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-520x508.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-64x64.jpg 64w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellista, ‘Finding San Jose’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Cellista has continued her tag-gathering at different events over the years, and has now amassed over 1,000 tags. A few of those initial tags appear on the album on “\u003ca href=\"https://cellista.bandcamp.com/track/a-conversation-at-trials\" target=\"_blank\" rel=\"noopener\">A Conversation at Trials\u003c/a>.” “I took eight of those tags at random and I gave them to poet \u003ca href=\"http://www.thedavidperez.com/\" target=\"_blank\" rel=\"noopener\">David Perez\u003c/a>,” she explains. “I had him create a poem from those eight tags, and I also gave him eight prompts of my own, and he created this collaged ‘found’ poem which couldn’t exist without San Jose.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is this broad creative process that makes the album an overall brilliant gem. True to her “pastiche” curatorial style, this inclusion and collaboration with other creatives is what makes \u003cem>Finding San Jose\u003c/em> a captivating and mesmerizing listening experience. The roster of eclectic performers featured on the album include \u003ca href=\"http://www.rykardaparasol.com/\" target=\"_blank\" rel=\"noopener\">Rykarda Parasol\u003c/a>, \u003ca href=\"http://emceeinfinite.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Emcee Infinite\u003c/a>, hip-hop artist \u003ca href=\"http://www.lifeafterhiphop.com/\" target=\"_blank\" rel=\"noopener\">Dem One,\u003c/a> and the \u003ca href=\"http://www.cellista.net/services-1/\" target=\"_blank\" rel=\"noopener\">Juxtapositions Chamber Ensemble\u003c/a>. The distinct differences of genre or styles from song to song might be jarring, were it not for the flow of Cellista’s cello compositions, giving the listener a sensation of being right alongside her. \u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=G4eRQTKV4UY&w=640&h=360] \u003cem>Live performance on the occasion of Cellista’s interview for KQED Arts; filmed and edited by \u003ca href=\"https://ww2.kqed.org/arts/author/beder/\" target=\"_blank\" rel=\"noopener\">Brian Eder\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>As Cellista suggests in the liner notes, on how best to listen to \u003cem>Finding San Jose\u003c/em>: “Be alone. In a candlelit room; root yourself firmly in the present with eyes wide open. Listen all the way through.”\u003c/p>\n\u003cp>Indeed, letting one’s imagination conjure the feeling of leaves crunching beneath the feet and the expressive faces of city dwellers passing by in “\u003ca href=\"https://cellista.bandcamp.com/track/st-james-park\" target=\"_blank\" rel=\"noopener\">St. James Park\u003c/a>” changes one’s perspective of San Jose. Whether you live here or not, it will be a new one that connects you to an alluring persona you can fall in love with — which is what Cellista intended all along.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\n\u003cp>\u003cem>Cellista premieres ‘Finding San Jose’ in a theatrical album release incorporating film, dance, poetry and theater on Saturday, Oct. 29, at Little Boxes Theater in San Francisco. More details \u003ca href=\"https://www.artful.ly/findingsanjose\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone knows the way to San Jose by now. But finding its pulse and unique voice is the new challenge of the day, one that Cellista has taken head-on in her debut solo album, \u003ca href=\"https://cellista.bandcamp.com/album/finding-san-jos\" target=\"_blank\" rel=\"noopener\">\u003cem>Finding San Jose\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cellista (born Freya Seeburger in 1983, in Colorado) arrived onto the San Jose art scene during the autumn of 2010; she firmly planted her black Luis & Clarke carbon fibre cello into the soil of Silicon Valley and has nurtured its roots ever since. Ask her about being a musician in San Jose and she’ll tell you a love story full of hopes, accomplishments and heartbreak. Each track of the album is the response of a musician to finding an independent voice in a place bustling with talent and creativity, both often overshadowed by the tech and manufacturing industries.\u003c/p>\n\u003cfigure id=\"attachment_12229090\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12229090\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg\" alt=\"Cellista art installation & performance at SubZERO Festival 2014\" width=\"420\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_SubZERO14-375x563.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014 \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her first impression of San Jose — and the reason she and husband Nico decided to move here — was the abundance of the visual arts. “It’s everywhere,” she says. “I’ve never seen anything like it. The community is really strong, really collaborative and really encouraging and in a way that’s completely different from other scenes. It’s special and unique in a way I’ve never seen, even compared to Denver or Paris and other cities, in all my traveling. It just made me want to have a new relationship with art and art making, and my cello is my tool.”\u003c/p>\n\u003cp>One of Cellista’s earliest tool-wielding performances was an outdoor art installation she and visual artist \u003ca href=\"http://tulioflores.com/\" target=\"_blank\" rel=\"noopener\">Tulio Flores\u003c/a> envisioned for the 2014 \u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">SubZERO Festival\u003c/a>. Together they created a dramatic bird cage, large enough to stage her cello and a looping station, and invited audience members to write something about themselves and San Jose on tags that would be tied to the cage. Throughout the event, Cellista chose random tags, using them to improvise music inspired by the feeling the words gave her, and would even vocalize their words through her looping station to add texture to her melodies. “They left very confessional thoughts on those tags,” she says, “as if it were a very sacred space.”\u003c/p>\n\u003cfigure id=\"attachment_12228689\" class=\"wp-caption alignright\" style=\"max-width: 520px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12228689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg\" width=\"520\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-240x234.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-375x366.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-520x508.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_cover-64x64.jpg 64w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cellista, ‘Finding San Jose’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Cellista has continued her tag-gathering at different events over the years, and has now amassed over 1,000 tags. A few of those initial tags appear on the album on “\u003ca href=\"https://cellista.bandcamp.com/track/a-conversation-at-trials\" target=\"_blank\" rel=\"noopener\">A Conversation at Trials\u003c/a>.” “I took eight of those tags at random and I gave them to poet \u003ca href=\"http://www.thedavidperez.com/\" target=\"_blank\" rel=\"noopener\">David Perez\u003c/a>,” she explains. “I had him create a poem from those eight tags, and I also gave him eight prompts of my own, and he created this collaged ‘found’ poem which couldn’t exist without San Jose.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is this broad creative process that makes the album an overall brilliant gem. True to her “pastiche” curatorial style, this inclusion and collaboration with other creatives is what makes \u003cem>Finding San Jose\u003c/em> a captivating and mesmerizing listening experience. The roster of eclectic performers featured on the album include \u003ca href=\"http://www.rykardaparasol.com/\" target=\"_blank\" rel=\"noopener\">Rykarda Parasol\u003c/a>, \u003ca href=\"http://emceeinfinite.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Emcee Infinite\u003c/a>, hip-hop artist \u003ca href=\"http://www.lifeafterhiphop.com/\" target=\"_blank\" rel=\"noopener\">Dem One,\u003c/a> and the \u003ca href=\"http://www.cellista.net/services-1/\" target=\"_blank\" rel=\"noopener\">Juxtapositions Chamber Ensemble\u003c/a>. The distinct differences of genre or styles from song to song might be jarring, were it not for the flow of Cellista’s cello compositions, giving the listener a sensation of being right alongside her. \u003c/p>\n\u003cp>\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/G4eRQTKV4UY'\n title='//www.youtube.com/embed/G4eRQTKV4UY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp> \u003cem>Live performance on the occasion of Cellista’s interview for KQED Arts; filmed and edited by \u003ca href=\"https://ww2.kqed.org/arts/author/beder/\" target=\"_blank\" rel=\"noopener\">Brian Eder\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>As Cellista suggests in the liner notes, on how best to listen to \u003cem>Finding San Jose\u003c/em>: “Be alone. In a candlelit room; root yourself firmly in the present with eyes wide open. Listen all the way through.”\u003c/p>\n\u003cp>Indeed, letting one’s imagination conjure the feeling of leaves crunching beneath the feet and the expressive faces of city dwellers passing by in “\u003ca href=\"https://cellista.bandcamp.com/track/st-james-park\" target=\"_blank\" rel=\"noopener\">St. James Park\u003c/a>” changes one’s perspective of San Jose. Whether you live here or not, it will be a new one that connects you to an alluring persona you can fall in love with — which is what Cellista intended all along.\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\n\u003cp>\u003cem>Cellista premieres ‘Finding San Jose’ in a theatrical album release incorporating film, dance, poetry and theater on Saturday, Oct. 29, at Little Boxes Theater in San Francisco. More details \u003ca href=\"https://www.artful.ly/findingsanjose\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bayview is a rapidly developing neighborhood, as we \u003ca href=\"https://ww2.kqed.org/arts/2016/10/19/a-block-party-for-the-changing-neighborhood-at-bayviewlive/\" target=\"_blank\" rel=\"noopener\">wrote last week\u003c/a>, and with those changes comes a good deal of concern: that original residents will be pushed out, and with them will go the community’s character.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">BayviewLIVE\u003c/a>, a free, daylong block party that took place on Saturday, Oct. 22, aimed to celebrate the neighborhood amid this transition with hip-hop — including headliner Jidenna and local rapper-activist Equipto — alongside graffiti, DJs and more. Festival founder and community organizer Tyra Fennell told KQED Arts she estimates more than 2,000 people attended over the course of the day.\u003c/p>\n\u003cp>Photographer L. Herrada-Rios was on the scene; here’s a taste of what she saw.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"12250231,12250235,12250234,12250236,12250238,12250232,12250241,12250242,12250243,12250244,12250240,12250245,12250246,12250247,12250248,12250249,12250250,12250251,12250253,12250254,12250255,12250257,12250259,12250260,12250261,12250263,12250262,12250264,12250265,12250227\" orderby=\"rand\"]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bayview is a rapidly developing neighborhood, as we \u003ca href=\"https://ww2.kqed.org/arts/2016/10/19/a-block-party-for-the-changing-neighborhood-at-bayviewlive/\" target=\"_blank\" rel=\"noopener\">wrote last week\u003c/a>, and with those changes comes a good deal of concern: that original residents will be pushed out, and with them will go the community’s character.\u003c/p>\n\u003cp>\u003ca href=\"http://www.bayviewlive.com/\" target=\"_blank\" rel=\"noopener\">BayviewLIVE\u003c/a>, a free, daylong block party that took place on Saturday, Oct. 22, aimed to celebrate the neighborhood amid this transition with hip-hop — including headliner Jidenna and local rapper-activist Equipto — alongside graffiti, DJs and more. Festival founder and community organizer Tyra Fennell told KQED Arts she estimates more than 2,000 people attended over the course of the day.\u003c/p>\n\u003cp>Photographer L. Herrada-Rios was on the scene; here’s a taste of what she saw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "30 Years of 'Heavy Metal Parking Lot,' the Classic 'Cult Classic' Film",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/498827998/498954318\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Thirty years ago this week, an unknown filmmaker walked into a club in Washington, D.C., with a videotape in his hand. It was one of those nights when anyone could screen their work … but this was the first public screening of a short documentary that’s gone on to become the very definition of a cult classic.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.heavymetalparkinglot.com/\" target=\"_blank\" rel=\"noopener\">Heavy Metal Parking Lot\u003c/a> \u003c/em>was only 16 and a half minutes long, and the concept was bare-bones: just fans and staff outside the Capital Centre arena in Largo, Md., before a concert by two metal bands, Dokken and \u003ca href=\"http://www.npr.org/artists/16328304/judas-priest\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a>, in May of 1986. And yet it went viral before viral was a thing: One fan would make a copy of a video and give it to a friend who would do the same thing, until it spread, literally, around the world.\u003c/p>\n\u003cp>“Nobody could have imagined that it would have taken on the life that it has,” says Jeff Krulik, one of the two directors. Over the course of 30 years, he and his partner John Heyn watched their little documentary become the subject of websites, a mural, and mainstream press coverage in \u003cem>The New Yorker\u003c/em>, \u003cem>GQ\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>Premiere\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WhRCVm-1r2k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. Standing in one of them, Krulik points out a car that wouldn’t have been out of place here in 1986.\u003c/p>\n\u003cp>“That’s the last muscle car in the parking lot at the Cap Centre,” he says. “It’s the ghost of \u003cem>Heavy Metal Parking Lot\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those ghosts still walk the earth. And John Heyn and Jeff Krulik are eager to conjure them whenever they can. \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=30+Years+Of+%27Heavy+Metal+Parking+Lot%2C%27+The+Classic+%27Cult+Classic%27+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. 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"content": "\u003cp>In the words of all-knowing prophet Kylie Jenner, 2016 would be the year of \"realizing things.\" And boy, was she right. In addition to learning that \u003ca href=\"https://ww2.kqed.org/pop/2016/09/20/the-only-way-to-process-angelina-jolie-and-brad-pitts-divorce/\">love is dead\u003c/a> and \u003ca href=\"https://ww2.kqed.org/pop/2016/09/01/summer-recap-ryan-lochte-and-other-white-dudes-are-teflon-get-away-with-everything/\">white dudes can get away with almost anything\u003c/a>, the world also realized that we all hate Taylor Swift (or, to be precise, you all do; I'm \u003ca href=\"https://www.youtube.com/watch?v=IpT-FW_G8-A\">forever and for always\u003c/a> a Swiftie). And this group of haters now includes San Francisco Giants fans, who have decided they can't #even with the Queen of Breakup Anthems. But why, you ask? I'll tell you...\u003c/p>\n\u003cp>Even year autumns are very important to both Taylor Swift and the SF Giants:\u003c/p>\n\u003cul>\n\u003cli>In October 2010, Taylor Swift released her third album, \u003cem>Speak Now\u003c/em>. Exactly a week later, the Giants won the World Series.\u003c/li>\n\u003cli>In October 2012, Taylor Swift released \u003cem>Red\u003c/em>. The Giants won the World Series six days later.\u003c/li>\n\u003cli>In October 2014, Taylor Swift released \u003cem>1989\u003c/em>. The Giants won the World Series two days later.\u003c/li>\n\u003c/ul>\n\u003cp>Are you sensing a pattern here? Taylor Swift graces us with a collection of poignant, yet fun earworms and the SF Giants, emboldened by her mix of raw honesty and catchy melodies, respond by dominating.\u003c/p>\n\u003cp>But -- *record scratch* -- the even year witchcraft did not work its magic this year. The Giants didn't even make it to the World Series, let alone win, and we're still waiting on new music from Taylor. Giants fans are not happy, to put it mildly.\u003c/p>\n\u003cp>https://twitter.com/juicer5024/status/786429520890900480?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/JEKranzberg/status/786056077267857410?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/bigcityallan/status/786057024434036736?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/beckM14/status/786057347491823616?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Maybe if the bullpen had a new \u003ca href=\"https://ww2.kqed.org/pop/2016/09/06/how-summer-nights-from-grease-foretold-taylor-swift-and-tom-hiddlestons-entire-relationship-and-break-up/\">breakup banger about Tom Hiddleston\u003c/a> to listen to, they wouldn't have choked against the Cubs. Maybe the departures of Tim Lincecum, the Beard and other key players has nothing to do with performance and backroom deals and everything to do with \u003ca href=\"https://ww2.kqed.org/pop/2015/02/13/taylor-swift-style-video-blends-tumblr-and-lana-del-rey-moodiness/\">Taylor Swift's terrible decision \u003c/a>to pair the fun and light \"Style\" with a sad, dramatic music video.\u003c/p>\n\u003cp>Or maybe if Kanye and Kim hadn't exposed Taylor Swift this summer, causing her to go into hiding in order to give the public enough space to forgive, forget and fall back in love with her, she would have kept to her even year autumnal schedule, thus ensuring another World Series win for the Giants.\u003c/p>\n\u003cp>Could Kanye be the real culprit here? Has he been planning this Giants sabotage since that infamous VMA moment? Why would he care enough to plot such an elaborate evil genius scheme?\u003c/p>\n\u003cp>Easy: He's from Chicago; the Giants lost to the Chicago Cubs.\u003c/p>\n\u003cp>Hello! Wake up, sheeple!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The truth is out there.\u003c/p>\n\n",
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"excerpt": "SF Giants fans are mad at Taylor Swift, but they might be mad at someone else, after reading this conspiracy theory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the words of all-knowing prophet Kylie Jenner, 2016 would be the year of \"realizing things.\" And boy, was she right. In addition to learning that \u003ca href=\"https://ww2.kqed.org/pop/2016/09/20/the-only-way-to-process-angelina-jolie-and-brad-pitts-divorce/\">love is dead\u003c/a> and \u003ca href=\"https://ww2.kqed.org/pop/2016/09/01/summer-recap-ryan-lochte-and-other-white-dudes-are-teflon-get-away-with-everything/\">white dudes can get away with almost anything\u003c/a>, the world also realized that we all hate Taylor Swift (or, to be precise, you all do; I'm \u003ca href=\"https://www.youtube.com/watch?v=IpT-FW_G8-A\">forever and for always\u003c/a> a Swiftie). And this group of haters now includes San Francisco Giants fans, who have decided they can't #even with the Queen of Breakup Anthems. But why, you ask? I'll tell you...\u003c/p>\n\u003cp>Even year autumns are very important to both Taylor Swift and the SF Giants:\u003c/p>\n\u003cul>\n\u003cli>In October 2010, Taylor Swift released her third album, \u003cem>Speak Now\u003c/em>. Exactly a week later, the Giants won the World Series.\u003c/li>\n\u003cli>In October 2012, Taylor Swift released \u003cem>Red\u003c/em>. The Giants won the World Series six days later.\u003c/li>\n\u003cli>In October 2014, Taylor Swift released \u003cem>1989\u003c/em>. The Giants won the World Series two days later.\u003c/li>\n\u003c/ul>\n\u003cp>Are you sensing a pattern here? Taylor Swift graces us with a collection of poignant, yet fun earworms and the SF Giants, emboldened by her mix of raw honesty and catchy melodies, respond by dominating.\u003c/p>\n\u003cp>But -- *record scratch* -- the even year witchcraft did not work its magic this year. The Giants didn't even make it to the World Series, let alone win, and we're still waiting on new music from Taylor. Giants fans are not happy, to put it mildly.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Maybe if the bullpen had a new \u003ca href=\"https://ww2.kqed.org/pop/2016/09/06/how-summer-nights-from-grease-foretold-taylor-swift-and-tom-hiddlestons-entire-relationship-and-break-up/\">breakup banger about Tom Hiddleston\u003c/a> to listen to, they wouldn't have choked against the Cubs. Maybe the departures of Tim Lincecum, the Beard and other key players has nothing to do with performance and backroom deals and everything to do with \u003ca href=\"https://ww2.kqed.org/pop/2015/02/13/taylor-swift-style-video-blends-tumblr-and-lana-del-rey-moodiness/\">Taylor Swift's terrible decision \u003c/a>to pair the fun and light \"Style\" with a sad, dramatic music video.\u003c/p>\n\u003cp>Or maybe if Kanye and Kim hadn't exposed Taylor Swift this summer, causing her to go into hiding in order to give the public enough space to forgive, forget and fall back in love with her, she would have kept to her even year autumnal schedule, thus ensuring another World Series win for the Giants.\u003c/p>\n\u003cp>Could Kanye be the real culprit here? Has he been planning this Giants sabotage since that infamous VMA moment? Why would he care enough to plot such an elaborate evil genius scheme?\u003c/p>\n\u003cp>Easy: He's from Chicago; the Giants lost to the Chicago Cubs.\u003c/p>\n\u003cp>Hello! Wake up, sheeple!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The truth is out there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live Review: Green Day Drinks From the Fountain of Youth At Berkeley's UC Theatre",
"headTitle": "Live Review: Green Day Drinks From the Fountain of Youth At Berkeley’s UC Theatre | KQED",
"content": "\u003cp>The thing about being an aging punk band — one that defies expectations of longevity, doesn’t combust, doesn’t \u003ca href=\"https://ww2.kqed.org/arts/2015/04/14/live-review-the-replacements-still-beautifully-ramshackle-at-the-masonic/\" target=\"_blank\" rel=\"noopener\">go down in romantic flames\u003c/a> — is that you really can’t win. Punk rock is, nearly by definition, young people’s music. It’s rebellion and angst, and it’s the struggles, fierce pride, idealism and incredible sense of identity that come with that outsider status.\u003c/p>\n\u003cp>The tricky part about anti-establishment art, of course, is that if you’re great at it, if it resonates with enough people, it eventually crosses over to the establishment. So what do you do when you write songs about being a bored 15-year-old in Berkeley, getting stoned and jerking off, and the chord progressions are really simple but your lyrics are universal and your songwriting and showmanship hit that sweet spot in people’s hearts and a major label looks at you and sees dollar signs and that sounds pretty okay to you, and then the next thing you know not only are you \u003ca href=\"https://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">banned from the underground club that raised you\u003c/a>, you’re being inducted into the Rock and Roll Hall of Fame — which is, if we’re being honest, a little like being banned from getting to claim punk credibility ever again — and all of a sudden it’s 25 years later and tickets to your very corporate-feeling shows cost hundreds of dollars and you’re basically a solid nostalgia-rock band instead of a snotty teenage punk band and \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em> is writing about your post-rehab comeback album \u003c/a>and goddamn, who even reads\u003cem> Rolling Stone \u003c/em>anymore anyway?\u003c/p>\n\u003cfigure id=\"attachment_12235006\" class=\"wp-caption aligncenter\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/billie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12235006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/billie-1020x680.jpg\" alt=\"Billie Joe Armstrong\" width=\"515\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-520x347.jpg 520w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong at the UC Theatre in Berkeley, Oct. 20, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>These are the questions I want to ask Green Day. There’s something allegorical, cautionary about their career arc — and yes, it’s extra-personal if, like me, you grew up in the East Bay, Billie Joe’s funny nasally pseudo-British accent confusing the adults around you in the absolute best of ways when you insisted on staying up to watch their 1994 \u003cem>Saturday Night Live\u003c/em> debut. Those three-minute, three-chord songs are in your DNA, so it makes sense that there’s a sense of ownership, a stab of betrayal. And a resigned understanding that, much like a charming high-school boyfriend you would never date again in a million years, you will never truly get over them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FJPLrIpb4YM\u003c/p>\n\u003cp>Now is when I should probably mention that Green Day actually put on an objectively very good, very loud show last night, Oct. 20, at Berkeley’s newly refurbished UC Theatre. After an appearance from their standard hype man of the last few years, the Drunk Bunny, the band emerged and launched directly into “Know Your Enemy,” off 2009’s \u003cem>21st Century Breakdown\u003c/em>, “Bang Bang,” off the new \u003cem>Revolution Radio\u003c/em>, and “Holiday” from 2004 comeback \u003cem>American Idiot\u003c/em> — all pomp and bombast and power chords; Billie Joe Armstrong in a ruffled red shirt with black suspenders, successfully exhorting the sold-out crowd to jump and scream and fist-pump on command.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8069-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8069-1-1020x680.jpg\" alt=\"_V0A8069\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Then came a blur of \u003cem>Kerplunk\u003c/em> and \u003cem>Dookie\u003c/em> and \u003cem>Insomniac\u003c/em> hits: spirited, warm, and increasingly loud versions of “Longview,” “Armatage Shanks,” “Christie Road,” “When I Come Around,” “Welcome to Paradise,” “She” and “Stuart and the Ave.” — that last one, as Armstrong was quick to point out, referencing a Berkeley intersection a few blocks from the theater.\u003c/p>\n\u003cfigure id=\"attachment_12235010\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8066-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12235010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8066-1-1020x1530.jpg\" alt=\"Jason white\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Touring guitarist Jason White\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re gonna give it our all tonight,” he promised at one point, “because we always save the best for the hometown shows!” It was one of about a dozen references over the course of the evening to Gilman, Berkeley Square, “Oaktown,” etc., not counting the times Armstrong simply screamed “EAST BAY!” Other stage banter included references to the Raiders and a prideful “You progressive motherf*ckers!”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8058.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8058-1020x1411.jpg\" alt=\"_V0A8058\" width=\"640\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-960x1328.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-520x719.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Did the gestures feel forced? A little. Did either of the young teenagers Armstrong pulled onto the stage to sing, then instructed lovingly on stage-diving and crowdsurfing technique seem to mind? Not in the least. I’m certainly not going to forget that first kid anytime soon. She was shaking. He made her life. And it \u003cem>almost\u003c/em> made up for all the people in the back in tucked-in polos who sat down throughout the entire show.\u003c/p>\n\u003cfigure id=\"attachment_12235208\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tre-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12235208\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tre-1-1020x761.jpg\" alt=\"Tre Cool\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1920x1433.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-520x388.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tre Cool\u003c/figcaption>\u003c/figure>\n\u003cp>Those people, for what it’s worth, came most alive when the band, cued by a blue-haired Tré Cool and joined by keyboardist Jason Freese on saxophone, launched into a hard-winking medley of “Shout,” “Have You Ever Seen the Rain,” “(I Can’t Get No) Satisfaction,” “Hey Jude,” Journey’s “Lights,” and so on. The joke being that those songs are cheesy classic rock, get it? Which is, like, really different from what Green Day does, right? Just try not to think too hard about the 44-year-old frontman with the dye job and the eyeliner. And \u003cem>definitely\u003c/em> don’t think about what \u003ca href=\"http://www.gq-magazine.co.uk/article/desert-trip-2016-review-oldchella\" target=\"_blank\" rel=\"noopener\">Oldchella\u003c/a> will look like in another 15 years.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235404\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1020x765.jpg\" alt=\"FullSizeRender (31)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>After encore songs “American Idiot,” “Jesus of Suburbia,” “Forever Now,” and solo performances of “Ordinary World” and “Time of Your Life,” Armstrong’s bandmates, grinning, nearly carried him offstage. The house music came up, and the sweaty humans all around me began to carry their own grins toward the exits, adolescent euphoria radiating off even some of the most senior attendees.\u003c/p>\n\u003cp>And then, on the way out, I passed a group of maybe 14-year-old boys I’d seen earlier, receiving a stern talking-to from someone’s mom as she dropped them off — and in a matter of seconds, their dazed, energized, mischievous expressions as they plotted their next move (Nation’s, boys, Nation’s!) answered every question I had about whether or not Green Day still represents something pure and true and rebellious to anyone in this world.\u003c/p>\n\u003cfigure id=\"attachment_12235406\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8045.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12235406 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8045-1020x1530.jpg\" alt=\"_V0A8045\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bille Joe Armstrong and Mike Dirnt.\u003c/figcaption>\u003c/figure>\n\u003cp>Look, no matter how long they’ve been a Very Famous Mainstream Rock Band, there’s always going to be something surreal about seeing the best-known graduates of Berkeley’s most proudly grungy DIY scene playing something like the Disneyland version of punk in a big shiny room featuring expensive chandeliers. (“These guys would make a great Green Day cover band,” went some nonsensical part of my brain near the end of the two-and-a-half-hour set.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-32.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1020x755.jpg\" alt=\"FullSizeRender (32)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1920x1422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-520x385.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>But if today’s 14-year-olds are still picking up \u003cem>Dookie\u003c/em> (or, hell, \u003cem>Revolution Radio\u003c/em>) and searing those three-minute, three-chord songs onto their DNA — and then maybe, hopefully, going to 924 Gilman to check out the next-generation iteration who doesn’t cost hundreds of dollars to see, or maybe even to \u003cem>start\u003c/em> that band — well, who am I to say that’s not punk?\u003c/p>\n\u003cp>Take it away, teens: This is your band now. Take good care of them. And please don’t forget to stagedive.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_2372.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_2372-1020x1020.jpg\" alt=\"IMG_2372\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Neither here nor there:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Mike Dirnt is a very celebrated bassist and yet I still feel like he’s underrated.\u003c/li>\n\u003cli>Very curious about these shirts at the merch table that bore the \u003ca href=\"https://41.media.tumblr.com/c1342a4eadbe09c268101bb0eecc329c/tumblr_mmqg6l9LC91sqj8g9o1_500.jpg\" target=\"_blank\" rel=\"noopener\">famous rules posted at 924 Gilman\u003c/a>; hope it’s some version of a fundraiser.\u003c/li>\n\u003cli>There’s something to be said for genuine hometown energy: I heard the band’s guest list was roughly 400 people long.\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The most famous graduates of the East Bay punk scene might have broken some hearts -- but there are plenty of teenagers still lining up to fall in love.",
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"description": "The most famous graduates of the East Bay punk scene might have broken some hearts -- but there are plenty of teenagers still lining up to fall in love.",
"title": "Live Review: Green Day Drinks From the Fountain of Youth At Berkeley's UC Theatre | KQED",
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"headline": "Live Review: Green Day Drinks From the Fountain of Youth At Berkeley's UC Theatre",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing about being an aging punk band — one that defies expectations of longevity, doesn’t combust, doesn’t \u003ca href=\"https://ww2.kqed.org/arts/2015/04/14/live-review-the-replacements-still-beautifully-ramshackle-at-the-masonic/\" target=\"_blank\" rel=\"noopener\">go down in romantic flames\u003c/a> — is that you really can’t win. Punk rock is, nearly by definition, young people’s music. It’s rebellion and angst, and it’s the struggles, fierce pride, idealism and incredible sense of identity that come with that outsider status.\u003c/p>\n\u003cp>The tricky part about anti-establishment art, of course, is that if you’re great at it, if it resonates with enough people, it eventually crosses over to the establishment. So what do you do when you write songs about being a bored 15-year-old in Berkeley, getting stoned and jerking off, and the chord progressions are really simple but your lyrics are universal and your songwriting and showmanship hit that sweet spot in people’s hearts and a major label looks at you and sees dollar signs and that sounds pretty okay to you, and then the next thing you know not only are you \u003ca href=\"https://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">banned from the underground club that raised you\u003c/a>, you’re being inducted into the Rock and Roll Hall of Fame — which is, if we’re being honest, a little like being banned from getting to claim punk credibility ever again — and all of a sudden it’s 25 years later and tickets to your very corporate-feeling shows cost hundreds of dollars and you’re basically a solid nostalgia-rock band instead of a snotty teenage punk band and \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em> is writing about your post-rehab comeback album \u003c/a>and goddamn, who even reads\u003cem> Rolling Stone \u003c/em>anymore anyway?\u003c/p>\n\u003cfigure id=\"attachment_12235006\" class=\"wp-caption aligncenter\" style=\"max-width: 515px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/billie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12235006\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/billie-1020x680.jpg\" alt=\"Billie Joe Armstrong\" width=\"515\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/billie-520x347.jpg 520w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong at the UC Theatre in Berkeley, Oct. 20, 2016.\u003c/figcaption>\u003c/figure>\n\u003cp>These are the questions I want to ask Green Day. There’s something allegorical, cautionary about their career arc — and yes, it’s extra-personal if, like me, you grew up in the East Bay, Billie Joe’s funny nasally pseudo-British accent confusing the adults around you in the absolute best of ways when you insisted on staying up to watch their 1994 \u003cem>Saturday Night Live\u003c/em> debut. Those three-minute, three-chord songs are in your DNA, so it makes sense that there’s a sense of ownership, a stab of betrayal. And a resigned understanding that, much like a charming high-school boyfriend you would never date again in a million years, you will never truly get over them.\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/FJPLrIpb4YM'\n title='//www.youtube.com/embed/FJPLrIpb4YM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now is when I should probably mention that Green Day actually put on an objectively very good, very loud show last night, Oct. 20, at Berkeley’s newly refurbished UC Theatre. After an appearance from their standard hype man of the last few years, the Drunk Bunny, the band emerged and launched directly into “Know Your Enemy,” off 2009’s \u003cem>21st Century Breakdown\u003c/em>, “Bang Bang,” off the new \u003cem>Revolution Radio\u003c/em>, and “Holiday” from 2004 comeback \u003cem>American Idiot\u003c/em> — all pomp and bombast and power chords; Billie Joe Armstrong in a ruffled red shirt with black suspenders, successfully exhorting the sold-out crowd to jump and scream and fist-pump on command.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8069-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8069-1-1020x680.jpg\" alt=\"_V0A8069\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8069-1-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Then came a blur of \u003cem>Kerplunk\u003c/em> and \u003cem>Dookie\u003c/em> and \u003cem>Insomniac\u003c/em> hits: spirited, warm, and increasingly loud versions of “Longview,” “Armatage Shanks,” “Christie Road,” “When I Come Around,” “Welcome to Paradise,” “She” and “Stuart and the Ave.” — that last one, as Armstrong was quick to point out, referencing a Berkeley intersection a few blocks from the theater.\u003c/p>\n\u003cfigure id=\"attachment_12235010\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8066-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12235010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8066-1-1020x1530.jpg\" alt=\"Jason white\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8066-1-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Touring guitarist Jason White\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re gonna give it our all tonight,” he promised at one point, “because we always save the best for the hometown shows!” It was one of about a dozen references over the course of the evening to Gilman, Berkeley Square, “Oaktown,” etc., not counting the times Armstrong simply screamed “EAST BAY!” Other stage banter included references to the Raiders and a prideful “You progressive motherf*ckers!”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8058.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8058-1020x1411.jpg\" alt=\"_V0A8058\" width=\"640\" height=\"885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1020x1411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-800x1107.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1920x2656.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-960x1328.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8058-520x719.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Did the gestures feel forced? A little. Did either of the young teenagers Armstrong pulled onto the stage to sing, then instructed lovingly on stage-diving and crowdsurfing technique seem to mind? Not in the least. I’m certainly not going to forget that first kid anytime soon. She was shaking. He made her life. And it \u003cem>almost\u003c/em> made up for all the people in the back in tucked-in polos who sat down throughout the entire show.\u003c/p>\n\u003cfigure id=\"attachment_12235208\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tre-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-12235208\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tre-1-1020x761.jpg\" alt=\"Tre Cool\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1920x1433.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tre-1-520x388.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tre Cool\u003c/figcaption>\u003c/figure>\n\u003cp>Those people, for what it’s worth, came most alive when the band, cued by a blue-haired Tré Cool and joined by keyboardist Jason Freese on saxophone, launched into a hard-winking medley of “Shout,” “Have You Ever Seen the Rain,” “(I Can’t Get No) Satisfaction,” “Hey Jude,” Journey’s “Lights,” and so on. The joke being that those songs are cheesy classic rock, get it? Which is, like, really different from what Green Day does, right? Just try not to think too hard about the 44-year-old frontman with the dye job and the eyeliner. And \u003cem>definitely\u003c/em> don’t think about what \u003ca href=\"http://www.gq-magazine.co.uk/article/desert-trip-2016-review-oldchella\" target=\"_blank\" rel=\"noopener\">Oldchella\u003c/a> will look like in another 15 years.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235404\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1020x765.jpg\" alt=\"FullSizeRender (31)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-31-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>After encore songs “American Idiot,” “Jesus of Suburbia,” “Forever Now,” and solo performances of “Ordinary World” and “Time of Your Life,” Armstrong’s bandmates, grinning, nearly carried him offstage. The house music came up, and the sweaty humans all around me began to carry their own grins toward the exits, adolescent euphoria radiating off even some of the most senior attendees.\u003c/p>\n\u003cp>And then, on the way out, I passed a group of maybe 14-year-old boys I’d seen earlier, receiving a stern talking-to from someone’s mom as she dropped them off — and in a matter of seconds, their dazed, energized, mischievous expressions as they plotted their next move (Nation’s, boys, Nation’s!) answered every question I had about whether or not Green Day still represents something pure and true and rebellious to anyone in this world.\u003c/p>\n\u003cfigure id=\"attachment_12235406\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8045.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12235406 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/V0A8045-1020x1530.jpg\" alt=\"_V0A8045\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/V0A8045-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bille Joe Armstrong and Mike Dirnt.\u003c/figcaption>\u003c/figure>\n\u003cp>Look, no matter how long they’ve been a Very Famous Mainstream Rock Band, there’s always going to be something surreal about seeing the best-known graduates of Berkeley’s most proudly grungy DIY scene playing something like the Disneyland version of punk in a big shiny room featuring expensive chandeliers. (“These guys would make a great Green Day cover band,” went some nonsensical part of my brain near the end of the two-and-a-half-hour set.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-32.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235602\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1020x755.jpg\" alt=\"FullSizeRender (32)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1920x1422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/FullSizeRender-32-520x385.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>But if today’s 14-year-olds are still picking up \u003cem>Dookie\u003c/em> (or, hell, \u003cem>Revolution Radio\u003c/em>) and searing those three-minute, three-chord songs onto their DNA — and then maybe, hopefully, going to 924 Gilman to check out the next-generation iteration who doesn’t cost hundreds of dollars to see, or maybe even to \u003cem>start\u003c/em> that band — well, who am I to say that’s not punk?\u003c/p>\n\u003cp>Take it away, teens: This is your band now. Take good care of them. And please don’t forget to stagedive.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_2372.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-12235403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_2372-1020x1020.jpg\" alt=\"IMG_2372\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_2372-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Neither here nor there:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Mike Dirnt is a very celebrated bassist and yet I still feel like he’s underrated.\u003c/li>\n\u003cli>Very curious about these shirts at the merch table that bore the \u003ca href=\"https://41.media.tumblr.com/c1342a4eadbe09c268101bb0eecc329c/tumblr_mmqg6l9LC91sqj8g9o1_500.jpg\" target=\"_blank\" rel=\"noopener\">famous rules posted at 924 Gilman\u003c/a>; hope it’s some version of a fundraiser.\u003c/li>\n\u003cli>There’s something to be said for genuine hometown energy: I heard the band’s guest list was roughly 400 people long.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-tribute-to-a-vibraphonist-unraveling-a-hard-problem-and-what-is-beauty",
"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"headTitle": "Cy and David’s Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | KQED",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/289227316″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”165″ iframe=”true” /]\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqEseMoPZ-o\u003c/p>\n\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2K0ptoYpuc\u003c/p>\n\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty | KQED",
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"headline": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”165″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/289227316″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/289227316″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\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/DqEseMoPZ-o'\n title='//www.youtube.com/embed/DqEseMoPZ-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" 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/O2K0ptoYpuc'\n title='//www.youtube.com/embed/O2K0ptoYpuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This feature is from our new series \u003cb>Into The Mix\u003c/b>, which focuses on little-known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>When San Francisco punk group Crime recorded their first single, “Baby You’re So Repulsive”/“Hot Wire My Heart,” the band “knew only that they wanted the resulting recording to be \u003cem>loud\u003c/em>,” says Henry Rosenthal, a drummer who later joined the band.\u003c/p>\n\u003cp>“Apparently, the band kept turning up knobs on the control board, pinning meters and creating that most beautiful of sounds known as analog distortion,” Rosenthal says. “The exasperated engineer was ignored, and finally got up and ran out of the control room, washing his hands of the whole mess, saying, ‘You do whatever you want! I give up!’”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Less than 10 years after Bay Area psychedelic bands rewrote how rock was recorded, a legion of punk and new wave groups from the region were upending the rulebook yet again. In the late 1970s and early 1980s, Crime, the Avengers, the Dead Kennedys and dozens of other acts cut sounds as rude and crude as any being made in the country. Sometimes they met hostility in the studio; sometimes they met bewilderment. Most often, the musicians, engineers, producers, and studio owners worked together to make records that somehow captured the scene’s vibrancy in the absence of major label backing, time, or money.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were no favored one or two studios for the new breed. Sessions were snagged whenever they were available and affordable (or, if they were lucky, free) at studios such as Hyde Street, Different Fur, or even facilities at Mills College in Oakland. Failing that, as producer John Cuniberti notes, “Many early punk records were recorded literally in a garage or basement. My first recordings with the Dead Kennedys took place in a converted mom-and-pop grocery store on a 16-track for $25 an hour.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10963533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bigger studios like the Record Plant or Fantasy insulated themselves from low-budget unsigned bands, punk or otherwise, by keeping the rates high and catering to the major labels,” says Cuniberti, who in addition to much of the Dead Kennedys catalog also engineered legendary punk discs by Victims Family and Flipper. “[However] by 1980 there were a handful of small one-room studios popping up all over the Bay Area. Most of them were owned and built by musicians who wanted to record themselves, their band or their friends’ bands.”\u003c/p>\n\u003cp>Gary Hobish saw different ends of the recording spectrum when he recorded as guitarist and bassist in hard-edged Berkeley new wavers the Jars. The band’s first 7″ was recorded in a studio in the building housing Target Video (itself important for its films of numerous early punk acts) between 17th and 18th Streets on South Van Ness Avenue in the Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12227891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12227891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg\" alt=\"East Bay Ray recording with the Dead Kennedys\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Ray recording with the Dead Kennedys \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had a song called ‘Electric Third Rail,’ and at one point we wanted the sound of somebody being electrocuted,” Hobish remembers. Engineer Mike Fox “came up with the idea of running the tape at half speed, and we took a bunch of aluminum beer cans and crinkled them at half speed. When we sped it up, it was fairly electric.”\u003c/p>\n\u003cp>Yet when the Jars were invited to make a demo for Fantasy Records, famed for their hits with Creedence Clearwater Revival, at Fantasy’s Berkeley studios, “I don’t think they got it at all,” says Hobish. “The engineers were sympathetic, but they would try to clean it up in terms of, ‘Well, this is how a recording should be done.’ It was no animosity there, but it just wasn’t really the right approach for a lot of bands.”\u003c/p>\n\u003cp>“Most punk bands in the beginning were only capable of performing their live show in the studio,” says Cuniberti, who later worked with Chickenfoot, PJ Harvey and Joe Satriani. “The recording was pretty straightforward and never required much ‘production.’ Singles were made in a day, and LPs in a week or less.”\u003c/p>\n\u003cp>Avengers singer Penelope Houston tells of her band recording their debut 7″, exemplifying how and why some early punk classics were cut so fast: “When we did ‘I Believe in Me’ I made up the verses during a scratch vocal take, and when I was done and it was time to do the real vocal, I said, ‘Oh just keep that.’ We were broke, jobless musicians who shared the same flat. We couldn’t imagine recording, let alone releasing, a full LP.”\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966071 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, some of the longer-lived bands could spend more time and money in the studio, a difference reflected in the growing sophistication of their records. For example, the Dead Kennedys “were all business in the studio, and knew what they wanted,” Cuniberti says.\u003c/p>\n\u003cp>“However, capturing the energy of their live show in a studio setting was difficult. The vibe would vanish after a few takes of a song, which required an engineer to have his shit together on the first take. The Dead Kennedys’ early 45 singles like ‘Too Drunk To Fuck’ had very little ‘production’ but a lot of energy and intent. It wasn’t until their second album, \u003cem>Plastic Surgery Disasters\u003c/em>, that the band moved away from the formula punk sounds of the ’70s,” Cuniberti says. “By 1982, the band was well-known and selling tickets, records and T-shirts, and could now afford ambitious studio recordings in more expensive studios. With more studio time available, their imaginations ran wild. The third album, \u003cem>Frankenchrist\u003c/em>, went even farther with irreverent amounts of reverb, echo, and layered guitars and vocals.”\u003c/p>\n\u003cp>When Gary Hobish worked as an engineer on the debut LP by legendary San Francisco oddballs the Mutants in the early ’80s, a balance had to be struck between punk and polish. “The first set of sessions, they had brought in a well-known producer and Hollywood engineer,” says Hobish. “Some great recordings were made, and a lot of it is on the album. But the band sort of rebelled against things being a little too sterile, or looking for that perfect take, when they didn’t feel ‘perfect’ was really one of the requirements.”\u003c/p>\n\u003cfigure id=\"attachment_12228087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12228087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg\" alt=\"The Dead Kennedys in the studio\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dead Kennedys in the studio \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They could have made a great record with just that material,” Hobish adds. “But they waited about six months and then they brought in [San Francisco-based guitarist] Snakefinger to produce another set of sessions, and that essentially filled out the album [with], I guess, 40 percent newer material. They reacted a bit better to that, possibly because they felt that Snakefinger was sort of one of their own from the same scene from his involvement with \u003ca href=\"https://ww2.kqed.org/arts/2014/06/30/tap-into-your-inner-resident-notes-on-our-planets-strangest-band/\" target=\"_blank\" rel=\"noopener\">The Residents\u003c/a>,” the San Francisco avant-garde outfit with whom Snakefinger often collaborated.\u003c/p>\n\u003cp>But Hobish, who has mastered vintage releases by the likes of the Avengers and Flipper for CD reissues, believes that despite their desire for both distortion and a lack of polish, those punk bands wanted to make “good recordings.”\u003c/p>\n\u003cp>“The fact that a lot of the recordings from that era are very rough has more to do with wanting to get things done quickly, or not being in the most professional situations, or just wanting to capture some raw live energy, than it did with having any sort of disdain for proper recording techniques,” Hobish says.\u003c/p>\n\u003cp>But, as Henry Rosenthal remarks, it’s that very energy, and to some extent the primitive conditions, that fueled the power that makes those records endure today.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When Crime started, the punk moniker didn’t exist yet, so there were no rules for recording the music,” he declares. “The band considered itself elemental rock ‘n’ roll. As a result, Crime’s best recordings were those made under the most adverse and restrictive conditions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This feature is from our new series \u003cb>Into The Mix\u003c/b>, which focuses on little-known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>When San Francisco punk group Crime recorded their first single, “Baby You’re So Repulsive”/“Hot Wire My Heart,” the band “knew only that they wanted the resulting recording to be \u003cem>loud\u003c/em>,” says Henry Rosenthal, a drummer who later joined the band.\u003c/p>\n\u003cp>“Apparently, the band kept turning up knobs on the control board, pinning meters and creating that most beautiful of sounds known as analog distortion,” Rosenthal says. “The exasperated engineer was ignored, and finally got up and ran out of the control room, washing his hands of the whole mess, saying, ‘You do whatever you want! I give up!’”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" class=\"alignright size-full wp-image-12260053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Less than 10 years after Bay Area psychedelic bands rewrote how rock was recorded, a legion of punk and new wave groups from the region were upending the rulebook yet again. In the late 1970s and early 1980s, Crime, the Avengers, the Dead Kennedys and dozens of other acts cut sounds as rude and crude as any being made in the country. Sometimes they met hostility in the studio; sometimes they met bewilderment. Most often, the musicians, engineers, producers, and studio owners worked together to make records that somehow captured the scene’s vibrancy in the absence of major label backing, time, or money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There were no favored one or two studios for the new breed. Sessions were snagged whenever they were available and affordable (or, if they were lucky, free) at studios such as Hyde Street, Different Fur, or even facilities at Mills College in Oakland. Failing that, as producer John Cuniberti notes, “Many early punk records were recorded literally in a garage or basement. My first recordings with the Dead Kennedys took place in a converted mom-and-pop grocery store on a 16-track for $25 an hour.\u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10963533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crime at the Mabuhay Gardens. \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bigger studios like the Record Plant or Fantasy insulated themselves from low-budget unsigned bands, punk or otherwise, by keeping the rates high and catering to the major labels,” says Cuniberti, who in addition to much of the Dead Kennedys catalog also engineered legendary punk discs by Victims Family and Flipper. “[However] by 1980 there were a handful of small one-room studios popping up all over the Bay Area. Most of them were owned and built by musicians who wanted to record themselves, their band or their friends’ bands.”\u003c/p>\n\u003cp>Gary Hobish saw different ends of the recording spectrum when he recorded as guitarist and bassist in hard-edged Berkeley new wavers the Jars. The band’s first 7″ was recorded in a studio in the building housing Target Video (itself important for its films of numerous early punk acts) between 17th and 18th Streets on South Van Ness Avenue in the Mission District.\u003c/p>\n\u003cfigure id=\"attachment_12227891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12227891\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg\" alt=\"East Bay Ray recording with the Dead Kennedys\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-1180x883.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-960x718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/EBR86JC3-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay Ray recording with the Dead Kennedys \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had a song called ‘Electric Third Rail,’ and at one point we wanted the sound of somebody being electrocuted,” Hobish remembers. Engineer Mike Fox “came up with the idea of running the tape at half speed, and we took a bunch of aluminum beer cans and crinkled them at half speed. When we sped it up, it was fairly electric.”\u003c/p>\n\u003cp>Yet when the Jars were invited to make a demo for Fantasy Records, famed for their hits with Creedence Clearwater Revival, at Fantasy’s Berkeley studios, “I don’t think they got it at all,” says Hobish. “The engineers were sympathetic, but they would try to clean it up in terms of, ‘Well, this is how a recording should be done.’ It was no animosity there, but it just wasn’t really the right approach for a lot of bands.”\u003c/p>\n\u003cp>“Most punk bands in the beginning were only capable of performing their live show in the studio,” says Cuniberti, who later worked with Chickenfoot, PJ Harvey and Joe Satriani. “The recording was pretty straightforward and never required much ‘production.’ Singles were made in a day, and LPs in a week or less.”\u003c/p>\n\u003cp>Avengers singer Penelope Houston tells of her band recording their debut 7″, exemplifying how and why some early punk classics were cut so fast: “When we did ‘I Believe in Me’ I made up the verses during a scratch vocal take, and when I was done and it was time to do the real vocal, I said, ‘Oh just keep that.’ We were broke, jobless musicians who shared the same flat. We couldn’t imagine recording, let alone releasing, a full LP.”\u003c/p>\n\u003cfigure id=\"attachment_10966071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10966071 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg\" alt=\"Penelope Houston of the Avengers\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaypenelopeoven.jpg 920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston of the Avengers \u003ccite>(Photo: Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, some of the longer-lived bands could spend more time and money in the studio, a difference reflected in the growing sophistication of their records. For example, the Dead Kennedys “were all business in the studio, and knew what they wanted,” Cuniberti says.\u003c/p>\n\u003cp>“However, capturing the energy of their live show in a studio setting was difficult. The vibe would vanish after a few takes of a song, which required an engineer to have his shit together on the first take. The Dead Kennedys’ early 45 singles like ‘Too Drunk To Fuck’ had very little ‘production’ but a lot of energy and intent. It wasn’t until their second album, \u003cem>Plastic Surgery Disasters\u003c/em>, that the band moved away from the formula punk sounds of the ’70s,” Cuniberti says. “By 1982, the band was well-known and selling tickets, records and T-shirts, and could now afford ambitious studio recordings in more expensive studios. With more studio time available, their imaginations ran wild. The third album, \u003cem>Frankenchrist\u003c/em>, went even farther with irreverent amounts of reverb, echo, and layered guitars and vocals.”\u003c/p>\n\u003cp>When Gary Hobish worked as an engineer on the debut LP by legendary San Francisco oddballs the Mutants in the early ’80s, a balance had to be struck between punk and polish. “The first set of sessions, they had brought in a well-known producer and Hollywood engineer,” says Hobish. “Some great recordings were made, and a lot of it is on the album. But the band sort of rebelled against things being a little too sterile, or looking for that perfect take, when they didn’t feel ‘perfect’ was really one of the requirements.”\u003c/p>\n\u003cfigure id=\"attachment_12228087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12228087\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg\" alt=\"The Dead Kennedys in the studio\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/DKs-86JC4-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dead Kennedys in the studio \u003ccite>(Photo: John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They could have made a great record with just that material,” Hobish adds. “But they waited about six months and then they brought in [San Francisco-based guitarist] Snakefinger to produce another set of sessions, and that essentially filled out the album [with], I guess, 40 percent newer material. They reacted a bit better to that, possibly because they felt that Snakefinger was sort of one of their own from the same scene from his involvement with \u003ca href=\"https://ww2.kqed.org/arts/2014/06/30/tap-into-your-inner-resident-notes-on-our-planets-strangest-band/\" target=\"_blank\" rel=\"noopener\">The Residents\u003c/a>,” the San Francisco avant-garde outfit with whom Snakefinger often collaborated.\u003c/p>\n\u003cp>But Hobish, who has mastered vintage releases by the likes of the Avengers and Flipper for CD reissues, believes that despite their desire for both distortion and a lack of polish, those punk bands wanted to make “good recordings.”\u003c/p>\n\u003cp>“The fact that a lot of the recordings from that era are very rough has more to do with wanting to get things done quickly, or not being in the most professional situations, or just wanting to capture some raw live energy, than it did with having any sort of disdain for proper recording techniques,” Hobish says.\u003c/p>\n\u003cp>But, as Henry Rosenthal remarks, it’s that very energy, and to some extent the primitive conditions, that fueled the power that makes those records endure today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Crime started, the punk moniker didn’t exist yet, so there were no rules for recording the music,” he declares. “The band considered itself elemental rock ‘n’ roll. As a result, Crime’s best recordings were those made under the most adverse and restrictive conditions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Insanely Beautiful' Scriabin Concerto Gets Rare Performance in San Jose",
"headTitle": "‘Insanely Beautiful’ Scriabin Concerto Gets Rare Performance in San Jose | KQED",
"content": "\u003cp>In 1939, composer Virgil Thomson brought attention to a growing problem in classical music. Despite a dire need for the presentation of new works, orchestras around the globe clung desperately to certain classics “tyrannically,” as he wrote in a 1944 essay, and at the expense of others.\u003c/p>\n\u003cp>Unfortunately, most would say little has changed since. The “50 pieces” Thomson mocked play on and on.\u003c/p>\n\u003cp>This Saturday and Sunday, Oct. 22 and 23, however, at the California Theater in San Jose, Symphony Silicon Valley will \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=259#showis199\" target=\"_blank\" rel=\"noopener\">present a largely forgotten work\u003c/a> of brilliance and uncommon beauty: Alexander Scriabin’s Piano Concerto in F-sharp minor, performed by virtuoso pianist Nikolai Demidenko. (Edvard Tchivzhel conducts Rachmaninoff’s Second Symphony in E minor to complete the program.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mk7BflMTdcw\u003c/p>\n\u003cp>Few people know just why certain pieces of music enter the classical canon and others of similar ilk are left to collect dust — or merely the attentions of aficionados. For every Beethoven, there is a Johann Nepomuk Hummel; for every Chopin, a Charles-Valentin Alkan; and so on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then, there is the curious case of Alexander Scriabin (1872-1915), a classmate of Sergei Rachmaninoff.\u003c/p>\n\u003cp>Like Rachmaninoff or Frédéric Chopin, the bulk of Scriabin’s output is for the piano. The prodigious Russian was fascinated by the Polish master, and composed largely in the same forms: polonaises, mazurkas, études, preludes, sonatas, etc. But to pigeonhole Scriabin as a mere modern incarnation of Chopin is an injustice both to him and to musical progress.\u003c/p>\n\u003cp>Pianist Garrick Ohlsson, winner of the 1970 International Chopin Competition, believes Scriabin, like Chopin, had an authentic genius for thinking about music at the piano.\u003c/p>\n\u003cp>“Scriabin is the most underplayed of all of our really great composers,” Ohlsson tells me from his home in San Francisco. “If you ask any trained musician, it is beyond discussion that Scriabin is one of the great composers at the turn of the century, in the company of Rachmaninoff, Debussy and Stravinsky. Like Beethoven, he went after a wide variety of states, moods and emotional issues, and I wouldn’t say his output is uneven.”\u003c/p>\n\u003cp>While the concertos of Beethoven, Chopin and Rachmaninoff are certainly among what we would now call the “50 pieces,” Scriabin’s remains nowhere to be found on most concert calendars, even a century after his death. And yet consensus dictates that the work is ravishingly beautiful, and inspired by genius.\u003c/p>\n\u003cp>“I think it’s wonderful that this piece is being heard. It’s very, very worthy, and it shows off the pianist beautifully,” says Ohlsson, whose 1986 recording of the concerto, with the Czech Philharmonic, should not be missed. “People very often expect that the Scriabin Concerto will be like Rachmaninoff’s Second or Third, but it’s a more introspective, poetic piece — maybe too poetic, dreamy. The thematic material in the Allegro, while beautiful and inspired, is very fundamentally lyric rather than dramatic.”\u003c/p>\n\u003cfigure id=\"attachment_12231827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Scriabin-800x473.jpg\" alt=\"Alexander Scriabin.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12231827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Scriabin.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirill Gerstein, winner of the 2001 Arthur Rubinstein Competition, performed the concerto earlier this month with the Deutsches Symphonie-Orchester Berlin. Gerstein first heard the work as a six-year-old, performed by the great Dmitri Bashkirov. He never forgot the experience, and later studied it with Bashkirov, whose recording is another standard.\u003c/p>\n\u003cp>“One of the issues is it requires real rehearsing, which is not always available in today’s musical life,” offered Gerstein from Germany. “Not to scare any potential orchestras and conductors, but it’s not ideal to rehearse this piece just once. There is a lot of rubato, and the orchestra can get a bit thick and unwieldy with the changes of mood and tempo, which happen together with the pianist. However, these shouldn’t prevent the Scriabin Concerto from being more popular because many pieces have these difficulties.”\u003c/p>\n\u003cp>The concerto, Opus 20 (1896), was written not long before Scriabin’s transformation as a composer. He would later \u003ca href=\"http://www.wqxr.org/#!/story/alexander-scriabins-grand-visions/\" target=\"_blank\" rel=\"noopener\">believe he was the Messiah\u003c/a>, and the concerto’s Andante is one of the most heaven-bound, tender creations of the piano literature.\u003c/p>\n\u003cp>“The second movement is like a dream, full of inspiration and belief in itself,” says Gerstein. “There’s the incredibly beautiful introduction, and the first variation is just a breath of fresh air, like when you open a window on a winter evening and air flows into the room. I think it’s an absolutely beautiful moment. Bashkirov told me that with early Scriabin, which resembles Rachmaninoff’s musical language, it shouldn’t sound like anything Rachmaninoff could have written. It has its own sound world and flavor — it’s less opulent, more piercing, more nervous.”\u003c/p>\n\u003cp>The composer’s nervousness, along with a mercurial and ecstatic energy — central features of his later works — can be found in an evolved state by Opus 32. But one can already detect the germ of evolution in the Allegro moderato of Opus 20.\u003c/p>\n\u003cp>“It’s unbelievably, insanely beautiful,” says Demidenko, Saturday’s featured soloist, and another Bashkirov pupil. “It is a world you never thought about. To perform it adequately, you have to be ready for challenges, and there are thousands. Eighty percent of the difficulties are in the left hand, as Scriabin’s right hand was injured at its composition. The concerto requires a very special conductor, as the work has rubato all the way through. In one section, the tempo changes four times in one line of text! This is why the Scriabin concerto is not played more often.”\u003c/p>\n\u003cp>In spite of musical and extramusical problems, Scriabin’s sole concerto may be his apex, the flower of a most unique, underplayed 20th century musical genius.\u003c/p>\n\u003cp>“It is a work of greater value than his symphonies,” Demidenko contends. “It doesn’t have the new harmonic language of his later years, but what it does have is incredible intensity, and that is Scriabin. The ending just flies away to enormous heights, and Scriabin takes you with it. For young pianists, if they consider climbing this Mount Everest of a work, the reward at the end is huge — and well worth it.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>Nikolai Demidenko performs Alexander Scriabin’s Piano Concerto in F sharp minor with Symphony Silicon Valley on Oct. 22 and 23 at the California Theater in San Jose. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=259#showis199\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1939, composer Virgil Thomson brought attention to a growing problem in classical music. Despite a dire need for the presentation of new works, orchestras around the globe clung desperately to certain classics “tyrannically,” as he wrote in a 1944 essay, and at the expense of others.\u003c/p>\n\u003cp>Unfortunately, most would say little has changed since. The “50 pieces” Thomson mocked play on and on.\u003c/p>\n\u003cp>This Saturday and Sunday, Oct. 22 and 23, however, at the California Theater in San Jose, Symphony Silicon Valley will \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=259#showis199\" target=\"_blank\" rel=\"noopener\">present a largely forgotten work\u003c/a> of brilliance and uncommon beauty: Alexander Scriabin’s Piano Concerto in F-sharp minor, performed by virtuoso pianist Nikolai Demidenko. (Edvard Tchivzhel conducts Rachmaninoff’s Second Symphony in E minor to complete the program.)\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/mk7BflMTdcw'\n title='//www.youtube.com/embed/mk7BflMTdcw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Few people know just why certain pieces of music enter the classical canon and others of similar ilk are left to collect dust — or merely the attentions of aficionados. For every Beethoven, there is a Johann Nepomuk Hummel; for every Chopin, a Charles-Valentin Alkan; and so on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then, there is the curious case of Alexander Scriabin (1872-1915), a classmate of Sergei Rachmaninoff.\u003c/p>\n\u003cp>Like Rachmaninoff or Frédéric Chopin, the bulk of Scriabin’s output is for the piano. The prodigious Russian was fascinated by the Polish master, and composed largely in the same forms: polonaises, mazurkas, études, preludes, sonatas, etc. But to pigeonhole Scriabin as a mere modern incarnation of Chopin is an injustice both to him and to musical progress.\u003c/p>\n\u003cp>Pianist Garrick Ohlsson, winner of the 1970 International Chopin Competition, believes Scriabin, like Chopin, had an authentic genius for thinking about music at the piano.\u003c/p>\n\u003cp>“Scriabin is the most underplayed of all of our really great composers,” Ohlsson tells me from his home in San Francisco. “If you ask any trained musician, it is beyond discussion that Scriabin is one of the great composers at the turn of the century, in the company of Rachmaninoff, Debussy and Stravinsky. Like Beethoven, he went after a wide variety of states, moods and emotional issues, and I wouldn’t say his output is uneven.”\u003c/p>\n\u003cp>While the concertos of Beethoven, Chopin and Rachmaninoff are certainly among what we would now call the “50 pieces,” Scriabin’s remains nowhere to be found on most concert calendars, even a century after his death. And yet consensus dictates that the work is ravishingly beautiful, and inspired by genius.\u003c/p>\n\u003cp>“I think it’s wonderful that this piece is being heard. It’s very, very worthy, and it shows off the pianist beautifully,” says Ohlsson, whose 1986 recording of the concerto, with the Czech Philharmonic, should not be missed. “People very often expect that the Scriabin Concerto will be like Rachmaninoff’s Second or Third, but it’s a more introspective, poetic piece — maybe too poetic, dreamy. The thematic material in the Allegro, while beautiful and inspired, is very fundamentally lyric rather than dramatic.”\u003c/p>\n\u003cfigure id=\"attachment_12231827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Scriabin-800x473.jpg\" alt=\"Alexander Scriabin.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-12231827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Scriabin-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Scriabin.\u003c/figcaption>\u003c/figure>\n\u003cp>Kirill Gerstein, winner of the 2001 Arthur Rubinstein Competition, performed the concerto earlier this month with the Deutsches Symphonie-Orchester Berlin. Gerstein first heard the work as a six-year-old, performed by the great Dmitri Bashkirov. He never forgot the experience, and later studied it with Bashkirov, whose recording is another standard.\u003c/p>\n\u003cp>“One of the issues is it requires real rehearsing, which is not always available in today’s musical life,” offered Gerstein from Germany. “Not to scare any potential orchestras and conductors, but it’s not ideal to rehearse this piece just once. There is a lot of rubato, and the orchestra can get a bit thick and unwieldy with the changes of mood and tempo, which happen together with the pianist. However, these shouldn’t prevent the Scriabin Concerto from being more popular because many pieces have these difficulties.”\u003c/p>\n\u003cp>The concerto, Opus 20 (1896), was written not long before Scriabin’s transformation as a composer. He would later \u003ca href=\"http://www.wqxr.org/#!/story/alexander-scriabins-grand-visions/\" target=\"_blank\" rel=\"noopener\">believe he was the Messiah\u003c/a>, and the concerto’s Andante is one of the most heaven-bound, tender creations of the piano literature.\u003c/p>\n\u003cp>“The second movement is like a dream, full of inspiration and belief in itself,” says Gerstein. “There’s the incredibly beautiful introduction, and the first variation is just a breath of fresh air, like when you open a window on a winter evening and air flows into the room. I think it’s an absolutely beautiful moment. Bashkirov told me that with early Scriabin, which resembles Rachmaninoff’s musical language, it shouldn’t sound like anything Rachmaninoff could have written. It has its own sound world and flavor — it’s less opulent, more piercing, more nervous.”\u003c/p>\n\u003cp>The composer’s nervousness, along with a mercurial and ecstatic energy — central features of his later works — can be found in an evolved state by Opus 32. But one can already detect the germ of evolution in the Allegro moderato of Opus 20.\u003c/p>\n\u003cp>“It’s unbelievably, insanely beautiful,” says Demidenko, Saturday’s featured soloist, and another Bashkirov pupil. “It is a world you never thought about. To perform it adequately, you have to be ready for challenges, and there are thousands. Eighty percent of the difficulties are in the left hand, as Scriabin’s right hand was injured at its composition. The concerto requires a very special conductor, as the work has rubato all the way through. In one section, the tempo changes four times in one line of text! This is why the Scriabin concerto is not played more often.”\u003c/p>\n\u003cp>In spite of musical and extramusical problems, Scriabin’s sole concerto may be his apex, the flower of a most unique, underplayed 20th century musical genius.\u003c/p>\n\u003cp>“It is a work of greater value than his symphonies,” Demidenko contends. “It doesn’t have the new harmonic language of his later years, but what it does have is incredible intensity, and that is Scriabin. The ending just flies away to enormous heights, and Scriabin takes you with it. For young pianists, if they consider climbing this Mount Everest of a work, the reward at the end is huge — and well worth it.”\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>Nikolai Demidenko performs Alexander Scriabin’s Piano Concerto in F sharp minor with Symphony Silicon Valley on Oct. 22 and 23 at the California Theater in San Jose. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=259#showis199\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OA1oDxRo_lI&w=560&h=315\u003c/p>\n\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is digital better? In some ways, yes; in other ways, no. But maybe that’s what the guys who used wax cylinders used to say when they got together to complain about magnetic tape…\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This piece is from our new series \u003cb>Into The Mix,\u003c/b> which focuses on little known stories from the Bay Area music scene’s past and present.\u003c/i>\u003c/p>\n\u003cp>The origin story of Silicon Valley typically centers on Stanford and steady funding from the US military. The marriage of technology and entertainment, as the story goes, came way later, with companies like Apple and Facebook.\u003c/p>\n\u003cp>But no.\u003c/p>\n\u003cp>The first company to revolutionize entertainment from the Valley was Ampex, launched in 1944. The company manufactured the first reel-to-reel machine for commercial use in the United States (based on German technology), and later, the first video recording machine. All in collaboration/competition with Bing Crosby. Yes, \u003cem>that\u003c/em> Bing Crosby.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/into-the-mix/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12260053\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg\" alt=\"Into The Mix -400 X 400-02\" width=\"400\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-375x376.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Into-The-Mix-400-X-400-02-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch3>Is that live radio at 2am?\u003c/h3>\n\u003cp>In the aftermath of WWII, Silicon Valley stocked up on all sorts of German scientists and technology. After all, the Germans were hardly in a position to defend patents in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was an American serviceman, Jack Mullin, who brought home to the San Francisco Bay Area a technology completely unfamiliar to Americans: the Magnetophon, a magnetic tape recorder developed by German companies BASF and AEG in the 1930s.\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/OA1oDxRo_lI'\n title='//www.youtube.com/embed/OA1oDxRo_lI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The technology put wax cylinders to shame. Magnetic tape recordings were so realistic that radio broadcasts sounded as though they were live, no matter the time of day. Mullin first heard the Berlin Philharmonic playing Beethoven’s Ninth Symphony on Radio Berlin — at 2am.\u003c/p>\n\u003cp>His search for how such a broadcast was possible led to his life’s work, starting with a couple devices and 50 reels of tape shipped home to tinker with and sell. Soon after, he had a celebrity customer: Bing Crosby.\u003c/p>\n\u003cp>Crosby, then starring on ABC’s \u003cem>Philco Radio Time\u003c/em>, loved the ability to do multiple takes and edit performances until he had a perfect radio show. (That, and he could play on the golf course while his show aired, pre-taped.) The networks fought him at first, but Crosby and the technology won out, and in 1947, \u003ca href=\"https://www.youtube.com/watch?v=ZziomfVrDuI\" target=\"_blank\" rel=\"noopener\">\u003cem>Philco Radio Time\u003c/em>\u003c/a> became the first tape-delayed radio broadcast in the United States.\u003c/p>\n\u003ch3>Crosby wasn’t the only one interested in the technology\u003c/h3>\n\u003cp>Henry Lowood, Stanford’s Curator for History of Science & Technology Collections, says Crosby wasn’t just a customer; he was an early version of a venture capitalist.\u003c/p>\n\u003cp>“He became very interested in promoting the technology and developing it,” Lowood said.\u003c/p>\n\u003cp>A scrappy start-up in San Carlos named the Ampex Electric and Manufacturing Company also adopted Mullin’s find, and Crosby paid Ampex $50,000 in the hope of seeing more of these marvelous machines manufactured on this side of the Atlantic.\u003c/p>\n\u003cfigure id=\"attachment_12200550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12200550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg\" alt=\"An early advertisement for Ampex.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21479_200A-1-qut.jpg 1636w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An early advertisement for Ampex. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Ampex would later move to Redwood City, and those who drive along Hwy. 101 can still see the company sign — even though Ampex is no longer, and its archives are \u003ca href=\"http://www.aes.org/aeshc/docs/press.releases/stanford.ampex.museum.mp3.html\" target=\"_blank\" rel=\"noopener noreferrer\">now managed by Stanford\u003c/a>.)\u003c/p>\n\u003cp>Today, if you visit the \u003ca href=\"http://library.stanford.edu/libraries/green/about\" target=\"_blank\" rel=\"noopener noreferrer\">Green Library\u003c/a> on the Stanford campus, you can see the dishwasher-sized device that was the first to go into regular broadcast service in the United States in 1948.\u003c/p>\n\u003cp>Listen to Lowood speaking at length about the \u003ca href=\"https://soundcloud.com/kqed-arts/ampex-full\" target=\"_blank\" rel=\"noopener\">legacy of Ampex\u003c/a>.\u003c/p>\n\u003cp>A former Ampex engineer restored it for display, which explains why, if you were to take it out of its glass case and plug it in, the machine would still play.\u003c/p>\n\u003cp>“I was just floored by the sound of the room being filled with music that was produced by it,” Lowood says. “[It] kind of revises your opinion about this kind of old technology and how it relates to our contemporary audio technologies, with compression and all of the other things that we accept when we listen to music.”\u003c/p>\n\u003cp>While broadcasting networks initially resisted pre-recorded radio shows, other performers, like Bob Hope, were quick to see the obvious benefits. Crosby also gave an Ampex 200A to Les Paul, who went on to develop \u003ca href=\"https://www.youtube.com/watch?v=D4Q1T_2C72g&feature=youtu.be&t=11m18s\" target=\"_blank\" rel=\"noopener noreferrer\">multi-track recording\u003c/a>.\u003c/p>\n\u003ch3>And then there was video\u003c/h3>\n\u003cfigure id=\"attachment_12199381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12199381 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg\" alt=\"The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21466_2014_01_24_20_50_09-qut-960x543.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The team at Bing Crosby Enterprises attempting to invent the first video tape recorder. On the far left: Jack Mullin, who introduced audio tape recording to the U.S.. On the far right: Bing Crosby. Ampex would beat Mullin and BCE to the punch. \u003ccite>(Photo: Courtesy of Department of Special Collections, Stanford University Libraries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1950s, Ampex competed against Crosby in the race to produce the first commercially viable video recorder, and Ampex won.\u003c/p>\n\u003cp>Fred Pfost, an Ampex engineer who worked on the project, was interviewed by the Audio Engineering Society in 2000, in which he described demonstrating the technology to CBS executives for the first time.\u003c/p>\n\u003cp>Unbeknownst to them, Pfost recorded a speech delivered by a vice president at the network. Then Pfost rewound the tape and played it back.\u003c/p>\n\u003cp>Choking up at the memory, he recalls, “There was total silence for probably 10 seconds, at which time they realized what was happening… There was clapping and shouting and foot stamping.”\u003c/p>\n\u003cp>That video recording team included Ray Dolby, one of several Ampex employees who went on to start landmark firms; others left to found \u003ca href=\"http://ethw.org/First-Hand:The_Development_of_Pong:_Early_Days_of_Atari_and_the_Video_Game_Industry\" target=\"_blank\" rel=\"noopener noreferrer\">Atari\u003c/a>, \u003ca href=\"http://www.businessinsider.com/rags-to-riches-story-of-larry-ellison-2015-5\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle\u003c/a> and \u003ca href=\"http://www.liquisearch.com/laurence_spitters/memorex\" target=\"_blank\" rel=\"noopener noreferrer\">Memorex\u003c/a>.\u003c/p>\n\u003cp>“So in a way,” Lowood says, “Ampex was not only the first entertainment technology company in Silicon Valley — it was also close to being the first to generate this culture of employees moving on to found other companies.”\u003c/p>\n\u003cp>But the cycle of technology is unstoppable, and after half a century of dominance in American TV, music, and radio studios, Ampex did a slow fade into history.\u003c/p>\n\u003cp>As KQED’s Peter Jon Shuler put it in a story 14 years ago about the \u003ca href=\"http://www.aes.org/aeshc/mp3/stanford.ampex/1-21-02-ampexcollection.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">company’s legacy\u003c/a>, “The digital revolution began to overshadow the technological innovations the firm helped establish.”\u003c/p>\n\u003ch3>Some of us still old enough to remember\u003c/h3>\n\u003cfigure id=\"attachment_12199767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg\" alt=\"Keven Guillory, editing a spot at KRE AM & FM in Berkeley, circa 1973.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21471_KevenGuillory-qut.jpg 959w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keven Guillory, editing a spot at \u003ca href=\"http://bayarearadio.org/schneider/kre.shtml\" target=\"_blank\" rel=\"noopener noreferrer\">KRE AM & FM\u003c/a> in Berkeley, circa 1973. \u003ccite>(Photo: Courtesy of Keven Guillory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ampex era may be over, but nostalgia doesn’t die easy.\u003c/p>\n\u003cp>Until digital editing software took over, radio reporters like yours truly collected razor blade scars all over our fingers, splicing bits of tape to put together stories, not unlike what Bing Crosby’s engineers were doing all the way back in 1948.\u003c/p>\n\u003cp>I have fond memories of the rock and roll of the two reels as I’d search for that pause between words where a splice might happen. I can still mimic the funny whoosh of that first word when I hit the play button, and the garbled chipmunk chatter I heard when pressing rewind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is digital better? In some ways, yes; in other ways, no. But maybe that’s what the guys who used wax cylinders used to say when they got together to complain about magnetic tape…\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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