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"content": "\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The music video is dead; long live the music video -- as long as by \"music video\" you mean visual album.\u003c/p>\n\u003cp>That was one (admittedly clunky) proclamation that hung in the air last week, as \u003ca href=\"http://variety.com/2016/tv/news/tv-ratings-vmas-plummet-mtv-1201846812/\" target=\"_blank\">MTV reported dismal ratings\u003c/a> for its big annual celebration of music set to film and scripted celebrity drama set to aggressively \u003ca href=\"http://www.refinery29.com/2016/08/121573/dj-khaled-snapchat-vma-commercial\" target=\"_blank\">sponsored content starring DJ Khaled and Nikes and Snapchat\u003c/a>. Are those things still called commercials? Let’s call them commercials.\u003c/p>\n\u003cp>Of course, you don’t have to be an industry insider to understand why the Video Music Awards, an exaltation of the year’s best stand-alone music videos and a onetime cash cow for the cable network, no longer constitute must-see TV. Sure, lots more people are watching via the internet. But our collective ambivalence toward the music video as a medium -- setting aside its place as a unit in the art film/visual album, we'll get to that in a moment -- is bigger than format. Broadly speaking, it's one arm of the story about the splintering death of the monoculture at the hands of the internet, in all its instantly gratifying, personally curated glory.\u003c/p>\n\u003cp>Whether you view this as awesome or sad or both probably depends on the year you were born. But it's undeniable: when most people are carrying a powerful, fully customizable computer around in their pockets, the idea of 13-year-olds rushing home from school to catch their favorite videos on \u003cem>TRL\u003c/em> -- because that was the only way to see them -- sounds as endearingly sepia-toned as suburban families gathering around the radio for the next installment of \u003cem>Hopalong Cassidy\u003c/em>.\u003c/p>\n\u003cp>Pause for a moment, if you will, and watch the music video for Jamiroquai's \"Virtual Insanity,\" which was released 20 years ago this month. Go on. If you're at work, find some headphones. Watch it start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Et9b7LWfnxQ\u003c/p>\n\u003cp>\"Virtual Insanity\" won Best Video at the VMAs in 1997, beating out the videos for Beck's \"The New Pollution,\" Nine Inch Nails' \"The Perfect Drug,\" No Doubt's \"Don't Speak,\" and Jewel's \"You Were Meant for Me.\" (Which: \u003ca href=\"https://www.youtube.com/watch?v=fGj77BrEgj4\" target=\"_blank\">what\u003c/a>. She's a babe, but still.)\u003c/p>\n\u003cp>Perhaps more memorably, if you are a person who was between the ages of, say, eight and 30 in 1996, it was the video that launched a thousand awed conversations. Google was quietly being birthed by young dorks at Stanford in 1996, but regular people sure didn't have it yet. So we asked each other questions instead: \u003cem>How did they make this thing? How did it look so cool? What was up with the hat? \u003c/em>\u003c/p>\n\u003cp>Now, you can look up 20 years of repeated, detailed explanations for the (still impressive) single-shot trickery. Director Jonathan Glazer has basically spent his entire life explaining how he made this music video. He should probably just print business cards with a paragraph about it on the back and hand them out to everyone he meets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MzwY7ii582Y\u003c/p>\n\u003cp>But it's not just an understanding of the analog magic that makes this video so compelling, such a charmer, 20 years down the line. What is it that makes \"Virtual Insanity\" so watchable?\u003c/p>\n\u003cp>It's stark and minimalist without feeling cold, yes. It's intimate -- a cousin to\u003ca href=\"http://grantland.com/features/with-new-video-jack-white-look-back-career-music-video-director-hype-williams/\" target=\"_blank\"> Hype Williams' signature fish-eye\u003c/a>, perhaps, but sillier, less self-consciously stylish. There's Jay Kay's delightfully playful way of moving, a Beck-meets-\u003cem>The Jetsons\u003c/em> update on the moonwalk. And then there's the fact that he's literally \u003cem>dancing over a rapidly changing landscape \u003c/em>as he sings about misgivings with an uncertain, tech-centric future.\u003c/p>\n\u003cp>Per the song's lyrics, we hear concerns that a preoccupation with newfangled toys and virtual escapism is at odds with humans doing right by each other (keep in mind most Americans didn't even have the internet in their homes in 1996). Per the video, it's up to Jay to move deftly, gracefully enough to make way for the inevitable shifts in the furniture -- to maintain some humanity and humor among the right angles and bright, unthinking lights. Altogether, it's knowing, it's wry, and it's completely of its time: hopeful, but wary about what's to come. As though the medium of the music video itself has become sentient, prescient, and is attempting to shout through the screen about what lies ahead.\u003c/p>\n\u003cp>What lay ahead, in 1996, was a massive shift in the way we consume music, and videos had to follow suit. Today, \"Virtual Insanity\" might be released on YouTube, and we would call it a viral video; we know, because \u003ca href=\"http://www.adweek.com/news/technology/why-ok-go-went-facebook-only-debut-its-buzzy-zero-gravity-music-video-169599\" target=\"_blank\">OK Go followed the breadcrumbs\u003c/a> it left behind -- \"make videos people want to talk about and the fascination will transfer to your music\" -- to great success. (I would argue that while that band's videos are technically impressive, \"Virtual Insanity\" holds up better as it ages partially because it's a great song and partially because the video is in service of its message, whereas OK Go videos seem to be 90 percent unrelated yet cool-looking gimmicks, but whatever. People love 'em, understandably.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dTAAsCNK7RA\u003c/p>\n\u003cp>Twenty years later, we don't need MTV to get our music videos anymore. We don't need \u003cem>nobody, \u003c/em>right guys?\u003c/p>\n\u003cp>Except when we kind of do: the market tells us that as one type of corporation-dictated scarcity is eliminated, new ones must take its place (that is, if anyone is going to make any money). Enter Beyoncé's \u003cem>Lemonade\u003c/em>, a visual album that will go down in the pop culture textbooks as an archetype for how \"big\" records can still be sold to a streaming-happy public -- that is, with a (somewhat disingenuous) element of surprise; after a handful of carefully timed teasers for viewers to parse; and as a multimedia, cross-genre rollout on at least two different platforms defined by varying degrees of exclusivity, in her case HBO and Tidal. (Pro tip for would-be superstars: bonus $$$ for literally owning one of those platforms.)\u003c/p>\n\u003cp>Distribution aside, there's obviously no shortage of expensive, highly skilled filmmaking going on in \u003cem>Lemonade\u003c/em>. It's a beautiful collection of videos, sweeping in scope yet raw and urgent throughout. That said, 20 years after we were all kids sitting around at lunch asking each other \u003cem>Did you see that new crazy music video with the floor moving?!\u003c/em> and \u003cem>Do you know how they did it?, \u003c/em>I'd argue the core magnet that draws people in about \u003cem>Lemonade \u003c/em>is the same simple and thoroughly human sense of wonder: \"Hold Up,\" which rightfully won 2016's Video of the Year, is essentially \u003cem>Did you see her smash up those cars with that baseball bat?! \u003c/em>(\u003cstrong>Update:\u003c/strong> a reader has pointed out that \"Hold Up\" did not win Video of the Year. It won Best Female Video. \"Formation\" won Video of the Year.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PeonBmeFR8o\u003c/p>\n\u003cp>It helps, of course, that she's one of the most beautiful women in the world, and that she's essentially baring her soul -- ugly parts and all. It's joyful, it's liberating, it feels like we're trespassing. Watch her break that first window and tell me it doesn't release a primal, childlike kind of glee you generally keep pretty buried, maybe by necessity, in adult life.\u003c/p>\n\u003cp>No one actually knows what's next in the evolution of the music video, or of music consumption, for that matter. It's safe to say that the country's collective attention will never be quite so easy to focus as it was when \"Virtual Insanity\" had us hooked. On balance, I'm of the opinion that that's probably a good thing.\u003c/p>\n\u003cp>But some things don't change. A good music video thrills by eliminating the distance between the artist and his or her audience. It removes our power to resist entering the artist's world, and then it surprises us with our own ability to still be surprised by what's there. And if there's an argument for scarcity, that's maybe where it lives: when we don't have that world at our fingertips, when we're not able to conjure that portal nor control when we get to tumble down it, it retains some mysticism, some sense of being unknowable. When we can't Google the reasons behind the magic, the act of being a music fan is just that much more of a thrill ride.\u003c/p>\n\u003cp>Call it nostalgia for simpler times, sure. But in some ways, I think we're all still that 13-year-old kid sitting cross-legged on the floor in front of MTV, waiting for the split-second rush we get from the start of our favorite video -- from the sight of Jay Kay on one foot, just before the first piano notes hit, as he glides inexplicably toward us to prophesize about the \u003ca href=\"http://www.stereogum.com/1801800/jamiroquais-virtual-insanity-video-is-now-a-video-game/video/\" target=\"_blank\">weird, terrifying, beautiful technological future that awaits\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music video is dead; long live the music video -- as long as by \"music video\" you mean visual album.\u003c/p>\n\u003cp>That was one (admittedly clunky) proclamation that hung in the air last week, as \u003ca href=\"http://variety.com/2016/tv/news/tv-ratings-vmas-plummet-mtv-1201846812/\" target=\"_blank\">MTV reported dismal ratings\u003c/a> for its big annual celebration of music set to film and scripted celebrity drama set to aggressively \u003ca href=\"http://www.refinery29.com/2016/08/121573/dj-khaled-snapchat-vma-commercial\" target=\"_blank\">sponsored content starring DJ Khaled and Nikes and Snapchat\u003c/a>. Are those things still called commercials? Let’s call them commercials.\u003c/p>\n\u003cp>Of course, you don’t have to be an industry insider to understand why the Video Music Awards, an exaltation of the year’s best stand-alone music videos and a onetime cash cow for the cable network, no longer constitute must-see TV. Sure, lots more people are watching via the internet. But our collective ambivalence toward the music video as a medium -- setting aside its place as a unit in the art film/visual album, we'll get to that in a moment -- is bigger than format. Broadly speaking, it's one arm of the story about the splintering death of the monoculture at the hands of the internet, in all its instantly gratifying, personally curated glory.\u003c/p>\n\u003cp>Whether you view this as awesome or sad or both probably depends on the year you were born. But it's undeniable: when most people are carrying a powerful, fully customizable computer around in their pockets, the idea of 13-year-olds rushing home from school to catch their favorite videos on \u003cem>TRL\u003c/em> -- because that was the only way to see them -- sounds as endearingly sepia-toned as suburban families gathering around the radio for the next installment of \u003cem>Hopalong Cassidy\u003c/em>.\u003c/p>\n\u003cp>Pause for a moment, if you will, and watch the music video for Jamiroquai's \"Virtual Insanity,\" which was released 20 years ago this month. Go on. If you're at work, find some headphones. Watch it start to finish.\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/Et9b7LWfnxQ'\n title='//www.youtube.com/embed/Et9b7LWfnxQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Virtual Insanity\" won Best Video at the VMAs in 1997, beating out the videos for Beck's \"The New Pollution,\" Nine Inch Nails' \"The Perfect Drug,\" No Doubt's \"Don't Speak,\" and Jewel's \"You Were Meant for Me.\" (Which: \u003ca href=\"https://www.youtube.com/watch?v=fGj77BrEgj4\" target=\"_blank\">what\u003c/a>. She's a babe, but still.)\u003c/p>\n\u003cp>Perhaps more memorably, if you are a person who was between the ages of, say, eight and 30 in 1996, it was the video that launched a thousand awed conversations. Google was quietly being birthed by young dorks at Stanford in 1996, but regular people sure didn't have it yet. So we asked each other questions instead: \u003cem>How did they make this thing? How did it look so cool? What was up with the hat? \u003c/em>\u003c/p>\n\u003cp>Now, you can look up 20 years of repeated, detailed explanations for the (still impressive) single-shot trickery. Director Jonathan Glazer has basically spent his entire life explaining how he made this music video. He should probably just print business cards with a paragraph about it on the back and hand them out to everyone he meets.\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/MzwY7ii582Y'\n title='//www.youtube.com/embed/MzwY7ii582Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it's not just an understanding of the analog magic that makes this video so compelling, such a charmer, 20 years down the line. What is it that makes \"Virtual Insanity\" so watchable?\u003c/p>\n\u003cp>It's stark and minimalist without feeling cold, yes. It's intimate -- a cousin to\u003ca href=\"http://grantland.com/features/with-new-video-jack-white-look-back-career-music-video-director-hype-williams/\" target=\"_blank\"> Hype Williams' signature fish-eye\u003c/a>, perhaps, but sillier, less self-consciously stylish. There's Jay Kay's delightfully playful way of moving, a Beck-meets-\u003cem>The Jetsons\u003c/em> update on the moonwalk. And then there's the fact that he's literally \u003cem>dancing over a rapidly changing landscape \u003c/em>as he sings about misgivings with an uncertain, tech-centric future.\u003c/p>\n\u003cp>Per the song's lyrics, we hear concerns that a preoccupation with newfangled toys and virtual escapism is at odds with humans doing right by each other (keep in mind most Americans didn't even have the internet in their homes in 1996). Per the video, it's up to Jay to move deftly, gracefully enough to make way for the inevitable shifts in the furniture -- to maintain some humanity and humor among the right angles and bright, unthinking lights. Altogether, it's knowing, it's wry, and it's completely of its time: hopeful, but wary about what's to come. As though the medium of the music video itself has become sentient, prescient, and is attempting to shout through the screen about what lies ahead.\u003c/p>\n\u003cp>What lay ahead, in 1996, was a massive shift in the way we consume music, and videos had to follow suit. Today, \"Virtual Insanity\" might be released on YouTube, and we would call it a viral video; we know, because \u003ca href=\"http://www.adweek.com/news/technology/why-ok-go-went-facebook-only-debut-its-buzzy-zero-gravity-music-video-169599\" target=\"_blank\">OK Go followed the breadcrumbs\u003c/a> it left behind -- \"make videos people want to talk about and the fascination will transfer to your music\" -- to great success. (I would argue that while that band's videos are technically impressive, \"Virtual Insanity\" holds up better as it ages partially because it's a great song and partially because the video is in service of its message, whereas OK Go videos seem to be 90 percent unrelated yet cool-looking gimmicks, but whatever. People love 'em, understandably.)\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/dTAAsCNK7RA'\n title='//www.youtube.com/embed/dTAAsCNK7RA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Twenty years later, we don't need MTV to get our music videos anymore. We don't need \u003cem>nobody, \u003c/em>right guys?\u003c/p>\n\u003cp>Except when we kind of do: the market tells us that as one type of corporation-dictated scarcity is eliminated, new ones must take its place (that is, if anyone is going to make any money). Enter Beyoncé's \u003cem>Lemonade\u003c/em>, a visual album that will go down in the pop culture textbooks as an archetype for how \"big\" records can still be sold to a streaming-happy public -- that is, with a (somewhat disingenuous) element of surprise; after a handful of carefully timed teasers for viewers to parse; and as a multimedia, cross-genre rollout on at least two different platforms defined by varying degrees of exclusivity, in her case HBO and Tidal. (Pro tip for would-be superstars: bonus $$$ for literally owning one of those platforms.)\u003c/p>\n\u003cp>Distribution aside, there's obviously no shortage of expensive, highly skilled filmmaking going on in \u003cem>Lemonade\u003c/em>. It's a beautiful collection of videos, sweeping in scope yet raw and urgent throughout. That said, 20 years after we were all kids sitting around at lunch asking each other \u003cem>Did you see that new crazy music video with the floor moving?!\u003c/em> and \u003cem>Do you know how they did it?, \u003c/em>I'd argue the core magnet that draws people in about \u003cem>Lemonade \u003c/em>is the same simple and thoroughly human sense of wonder: \"Hold Up,\" which rightfully won 2016's Video of the Year, is essentially \u003cem>Did you see her smash up those cars with that baseball bat?! \u003c/em>(\u003cstrong>Update:\u003c/strong> a reader has pointed out that \"Hold Up\" did not win Video of the Year. It won Best Female Video. \"Formation\" won Video of the Year.)\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/PeonBmeFR8o'\n title='//www.youtube.com/embed/PeonBmeFR8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It helps, of course, that she's one of the most beautiful women in the world, and that she's essentially baring her soul -- ugly parts and all. It's joyful, it's liberating, it feels like we're trespassing. Watch her break that first window and tell me it doesn't release a primal, childlike kind of glee you generally keep pretty buried, maybe by necessity, in adult life.\u003c/p>\n\u003cp>No one actually knows what's next in the evolution of the music video, or of music consumption, for that matter. It's safe to say that the country's collective attention will never be quite so easy to focus as it was when \"Virtual Insanity\" had us hooked. On balance, I'm of the opinion that that's probably a good thing.\u003c/p>\n\u003cp>But some things don't change. A good music video thrills by eliminating the distance between the artist and his or her audience. It removes our power to resist entering the artist's world, and then it surprises us with our own ability to still be surprised by what's there. And if there's an argument for scarcity, that's maybe where it lives: when we don't have that world at our fingertips, when we're not able to conjure that portal nor control when we get to tumble down it, it retains some mysticism, some sense of being unknowable. When we can't Google the reasons behind the magic, the act of being a music fan is just that much more of a thrill ride.\u003c/p>\n\u003cp>Call it nostalgia for simpler times, sure. But in some ways, I think we're all still that 13-year-old kid sitting cross-legged on the floor in front of MTV, waiting for the split-second rush we get from the start of our favorite video -- from the sight of Jay Kay on one foot, just before the first piano notes hit, as he glides inexplicably toward us to prophesize about the \u003ca href=\"http://www.stereogum.com/1801800/jamiroquais-virtual-insanity-video-is-now-a-video-game/video/\" target=\"_blank\">weird, terrifying, beautiful technological future that awaits\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The next iPhone, expected to be unveiled Wednesday, may be missing something familiar: the ubiquitous headphone jack. Usability experts say the change could really sit badly with Apple customers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Noise Complaint Sparks Demonstration of Street Music, Oakland Culture",
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"content": "\u003cp>It’s Saturday and \u003ca href=\"https://www.facebook.com/drummerboyaaron\" target=\"_blank\" rel=\"noopener\">Aaron Davis \u003c/a>has just set up his drum kit, with help from his grandfather, near Lake Merritt, by the 580 freeway, across the street from the busy Grand Lake Farmer’s Market.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/281682147″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Davis, 18 years old, comes here to Eastshore Park most weekends to practice his drumming, sometimes making a few hundred dollars in tips. But in late August, Davis says, a young, white woman who lives across the street came up to him as he played, and complained about the noise.\u003c/p>\n\u003cp>“She decided to hold her hands on my cymbals like that,” he says pretending to lean on the cymbals, “knocking this one over.”\u003c/p>\n\u003cp>The cymbal, worth $279, got pretty dinged up. “And I was getting fired up to like I was ready to hit her. But then I was like, if I did, things would have been much worse. So I was just like take a deep breath. Whooo. Okay.”\u003c/p>\n\u003cfigure id=\"attachment_12032880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/007-800x495.jpg\" alt=\"A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area can be a tough place for musicians, with its high rents and \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">noise complaints like those last year about music in Oakland.\u003c/a> Police cited Latino and African-American members of a drumming group at Lake Merritt after a complaint from a white man, and newcomers complained to police about loud singing and praying at a church in rapidly gentrifying West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The woman with the complaint about Davis’ drumming called Oakland Police, but Davis had long since checked with officers, and they had told him that as long as he wasn’t amplifying his sound, he wasn’t breaking any laws in what is a very noisy neighborhood. Police often wave to Davis, he said, as they drive by in their patrol cars.\u003c/p>\n\u003cp>So nothing happened. Except \u003ca href=\"https://www.facebook.com/tram.q.nguyen?hc_ref=SEARCH\" target=\"_blank\" rel=\"noopener\">a fan wrote a Facebook post\u003c/a> about Davis’ encounter, and it got reposted a lot. #DrummerBoyAaron became the hero of a story about how newcomers to the city should be more respectful of Oakland’s culture.\u003c/p>\n\u003cfigure id=\"attachment_12032687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg\" alt=\"Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So this past Saturday, it wasn’t just Davis out there. More than a dozen other drummers from around the Bay Area joined him, plus someone on cowbells and kids with rattles. The drum corps \u003ca href=\"https://www.facebook.com/locobloco/\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> from San Francisco was there. “He’s a young kid out here drumming, and getting harassed by neighbors,” said drum instructor Anttwan Stanberry. “I think that’s not right, and we need to show more support for the arts.”\u003c/p>\n\u003cp>The crowd swelled also with Oakland residents like Dolores Payne. “I’m here because he’s a young black male,” Payne said as she sat in a lawn chair and nibbled on a hot dog, “and there’s not too much support for them out there. So we the people have to do it.”\u003c/p>\n\u003cfigure id=\"attachment_12032824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/006-800x600.jpg\" alt=\"One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Batten Bowman, one of Davis’ teachers from \u003ca href=\"http://www.ousd.org/rudsdale\" target=\"_blank\" rel=\"noopener\">Rudsdale High School in East Oakland\u003c/a> came too. “I was proud of him,” she said referring to how Davis kept his cool when the woman knocked over his cymbals.\u003c/p>\n\u003cp>Bowman, who is white, said she’s a fourth-generation Oaklander, and “why would we not support a young black student that’s here drumming and spending his time so positively.\u003c/p>\n\u003cp>“And in light of all the police brutality and violence perpetrated against black men,” Bowman said. “It seems unconscionable that someone would purposely call the cops on a young black man, with what could happen.”\u003c/p>\n\u003cfigure id=\"attachment_12032689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/003-800x568.jpg\" alt=\"Signs of support for #DrummerBoyAaron on Saturday\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1920x1364.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs of support for #DrummerBoyAaron on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile Davis, wearing a baseball cap tilted sideways, was playing his usual round of R&B, hip-hop and fusion, with help from the other musicians.\u003c/p>\n\u003cp>“I feel so blessed,” he shouted to the crowd after one jam. “Thank you all for coming out. Oh my God.”\u003c/p>\n\u003cp>There was no sign of the woman who had complained about the noise.\u003c/p>\n\u003cp>Sunday morning, Davis was playing drums at his East Oakland church, \u003ca href=\"http://www.genesiswc.com/\" target=\"_blank\" rel=\"noopener\">Genesis Worship Center,\u003c/a> as usual.\u003c/p>\n\u003cp>“It was a blast yesterday,” he said. “And I want to thank God, for so much support.”\u003c/p>\n\u003cp>Church Elder Isaac Frederick had heard about Davis and the Grand Lake neighbor. “Individuals that are coming here,” he said, “may not know the full culture behind Oakland and the richness that is behind our city.”\u003c/p>\n\u003cfigure id=\"attachment_12032882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/008-800x495.jpg\" alt=\"Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis said he made more than a $1,000 in tips on Saturday. He spent the money that same afternoon replacing the broken cymbal, and buying two new ones for the drum kit at Genesis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lesson of the experience for him, said Davis, was how Bay Area musicians and Oaklanders came together to celebrate its culture, and how loving everyone was. “It doesn’t matter what skin color you are,” Davis said. “You guys are all my brothers and sisters.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Saturday and \u003ca href=\"https://www.facebook.com/drummerboyaaron\" target=\"_blank\" rel=\"noopener\">Aaron Davis \u003c/a>has just set up his drum kit, with help from his grandfather, near Lake Merritt, by the 580 freeway, across the street from the busy Grand Lake Farmer’s Market.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/281682147″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/281682147″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Davis, 18 years old, comes here to Eastshore Park most weekends to practice his drumming, sometimes making a few hundred dollars in tips. But in late August, Davis says, a young, white woman who lives across the street came up to him as he played, and complained about the noise.\u003c/p>\n\u003cp>“She decided to hold her hands on my cymbals like that,” he says pretending to lean on the cymbals, “knocking this one over.”\u003c/p>\n\u003cp>The cymbal, worth $279, got pretty dinged up. “And I was getting fired up to like I was ready to hit her. But then I was like, if I did, things would have been much worse. So I was just like take a deep breath. Whooo. Okay.”\u003c/p>\n\u003cfigure id=\"attachment_12032880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/007-800x495.jpg\" alt=\"A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area can be a tough place for musicians, with its high rents and \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">noise complaints like those last year about music in Oakland.\u003c/a> Police cited Latino and African-American members of a drumming group at Lake Merritt after a complaint from a white man, and newcomers complained to police about loud singing and praying at a church in rapidly gentrifying West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The woman with the complaint about Davis’ drumming called Oakland Police, but Davis had long since checked with officers, and they had told him that as long as he wasn’t amplifying his sound, he wasn’t breaking any laws in what is a very noisy neighborhood. Police often wave to Davis, he said, as they drive by in their patrol cars.\u003c/p>\n\u003cp>So nothing happened. Except \u003ca href=\"https://www.facebook.com/tram.q.nguyen?hc_ref=SEARCH\" target=\"_blank\" rel=\"noopener\">a fan wrote a Facebook post\u003c/a> about Davis’ encounter, and it got reposted a lot. #DrummerBoyAaron became the hero of a story about how newcomers to the city should be more respectful of Oakland’s culture.\u003c/p>\n\u003cfigure id=\"attachment_12032687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg\" alt=\"Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So this past Saturday, it wasn’t just Davis out there. More than a dozen other drummers from around the Bay Area joined him, plus someone on cowbells and kids with rattles. The drum corps \u003ca href=\"https://www.facebook.com/locobloco/\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> from San Francisco was there. “He’s a young kid out here drumming, and getting harassed by neighbors,” said drum instructor Anttwan Stanberry. “I think that’s not right, and we need to show more support for the arts.”\u003c/p>\n\u003cp>The crowd swelled also with Oakland residents like Dolores Payne. “I’m here because he’s a young black male,” Payne said as she sat in a lawn chair and nibbled on a hot dog, “and there’s not too much support for them out there. So we the people have to do it.”\u003c/p>\n\u003cfigure id=\"attachment_12032824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/006-800x600.jpg\" alt=\"One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Batten Bowman, one of Davis’ teachers from \u003ca href=\"http://www.ousd.org/rudsdale\" target=\"_blank\" rel=\"noopener\">Rudsdale High School in East Oakland\u003c/a> came too. “I was proud of him,” she said referring to how Davis kept his cool when the woman knocked over his cymbals.\u003c/p>\n\u003cp>Bowman, who is white, said she’s a fourth-generation Oaklander, and “why would we not support a young black student that’s here drumming and spending his time so positively.\u003c/p>\n\u003cp>“And in light of all the police brutality and violence perpetrated against black men,” Bowman said. “It seems unconscionable that someone would purposely call the cops on a young black man, with what could happen.”\u003c/p>\n\u003cfigure id=\"attachment_12032689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/003-800x568.jpg\" alt=\"Signs of support for #DrummerBoyAaron on Saturday\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1920x1364.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs of support for #DrummerBoyAaron on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile Davis, wearing a baseball cap tilted sideways, was playing his usual round of R&B, hip-hop and fusion, with help from the other musicians.\u003c/p>\n\u003cp>“I feel so blessed,” he shouted to the crowd after one jam. “Thank you all for coming out. Oh my God.”\u003c/p>\n\u003cp>There was no sign of the woman who had complained about the noise.\u003c/p>\n\u003cp>Sunday morning, Davis was playing drums at his East Oakland church, \u003ca href=\"http://www.genesiswc.com/\" target=\"_blank\" rel=\"noopener\">Genesis Worship Center,\u003c/a> as usual.\u003c/p>\n\u003cp>“It was a blast yesterday,” he said. “And I want to thank God, for so much support.”\u003c/p>\n\u003cp>Church Elder Isaac Frederick had heard about Davis and the Grand Lake neighbor. “Individuals that are coming here,” he said, “may not know the full culture behind Oakland and the richness that is behind our city.”\u003c/p>\n\u003cfigure id=\"attachment_12032882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/008-800x495.jpg\" alt=\"Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis said he made more than a $1,000 in tips on Saturday. He spent the money that same afternoon replacing the broken cymbal, and buying two new ones for the drum kit at Genesis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lesson of the experience for him, said Davis, was how Bay Area musicians and Oaklanders came together to celebrate its culture, and how loving everyone was. “It doesn’t matter what skin color you are,” Davis said. “You guys are all my brothers and sisters.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“It’s just a dot of light, but it’s a very special dot of light.” That’s how Queen guitarist Brian May describes the asteroid named for his late friend and bandmate Freddie Mercury.\u003c/p>\n\u003cp>Official designation: Asteroid 17473 Freddiemercury.\u003c/p>\n\u003cp>“Happy Birthday Freddie!” May wrote on Twitter. “They already named a planet after you, but this little ROCK is a bonus! ha ha.”\u003c/p>\n\u003cp>The celestial body was discovered in the same year Mercury died at age 45. It was dedicated to the singer in honor of what would have been his 70th birthday, in a move that May announced in a video shown at a party for Mercury’s Sept. 5 birthday in Montreux, Switzerland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o2vo6VR51eA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Steve Reich may not have the immediate name recognition of other minimalist composers like John Cage or Philip Glass, but after a few minutes of listening to his music, you might be surprised at how much of it sounds familiar.\u003c/p>\n\u003cp>Spoken-word samples? Reich was one of the first musicians to use them — \u003cem>Rolling Stone\u003c/em> once \u003ca href=\"http://www.rollingstone.com/music/news/the-father-of-sampling-speaks-19990327\" target=\"_blank\" rel=\"noopener\">called him\u003c/a> the “father of sampling.” Listen to EDM? Some scholars \u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520245501\" target=\"_blank\" rel=\"noopener\">have suggested\u003c/a> its repetitive nature has origins in minimalism, which Reich developed in the early sixties. And if you play music yourself, you’ve probably experimented with some form of phasing, another Reich invention — the act of two musicians (or tracks) who start playing at the same tempo, with one veering incrementally off-tempo before aligning once again.\u003c/p>\n\u003cp>In October, Reich turns 80. His life’s adventures include attending Mills College for graduate school, becoming involved with the experimental San Francisco Tape Music Center, and pioneering minimalism with friend and colleague Terry Riley. This weekend, the San Francisco Symphony celebrates the milestone with a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">program of Reich’s work\u003c/a>, featuring performances by the Kronos Quartet, Eighth Blackbird and Reich himself. In his honor, we’ve collected six popular songs bearing his influence — you might not know Reich’s name, but you’ve definitely heard his impact.\u003c/p>\n\u003ch3>1. Sufjan Stevens\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=4EasZXhJzBQ\u003c/p>\n\u003cp>In 2007, Sufjan Stevens was asked to name his top five albums at a literary event. He only \u003ca href=\"http://www.nonesuch.com/journal/steve-reichs-music-for-18-musicians-on-sufjan-stevens-top-five\" target=\"_blank\" rel=\"noopener\">named one\u003c/a>: \u003cem>Music For 18 Musicians\u003c/em>. Reich’s most famous piece, \u003cem>Music for 18 Musicians\u003c/em> is centered around a repeating progression of 11 chords — there’s a short piece of music corresponding to each chord, with each segment eventually folding seamlessly back into the piece’s rhythmic backbone, a series of pulses anchoring the piece. Reich’s influence is apparent on several of Stevens’ songs, but it’s especially obvious on the last track of the 2005 album \u003cem>Illinois\u003c/em>. “Out of Egypt, into the Great Laugh of Mankind, and I Shake the Dirt from My Sandals as I Run” is a an instrumental straight out of the Reich playbook, built around shimmery pulses and forgoing Stevens’ typical overstuffed songs for a minimal, cyclical approach.\u003c/p>\n\u003ch3>2. David Bowie\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=PK1alQN3MDg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1976, Reich premiered \u003cem>Music for 18 Musicians\u003c/em> at Berlin’s Nationalgalerie. In the audience was David Bowie, who was living in Berlin, trying to kick coke and working on what would become 1977’s \u003cem>Low\u003c/em>. Recently, Reich \u003ca href=\"https://www.theguardian.com/music/2014/sep/11/steve-reich-radiohead-interview-phillip-glass\" target=\"_blank\" rel=\"noopener\">told the Guardian\u003c/a> he was surprised to hear echoes of himself on the album: “I think ‘Weeping Wall’ on \u003cem>Low\u003c/em> is somewhat indebted to that [performance]. That’s the beginning of my contact with popular music.” According to Bowie, the restless, slightly unsettling instrumental was written to evoke the Berlin Wall. It also evokes Reich: the song’s pulses, xylophone and vibraphone — plus the use of the human voice as just another instrument — are all similar to \u003cem>18 Musicians\u003c/em>.\u003c/p>\n\u003ch3>3. Björk\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=47pslSyGdIw\u003c/p>\n\u003cp>Björk is another vocal Reich fan, citing his his 1981 composition \u003ca href=\"https://www.youtube.com/watch?v=mjnVN6-Wx08\" target=\"_blank\" rel=\"noopener\">Tehillim\u003c/a> — structured around four Psalms, with a rhythm corresponding to the Hebrew singing — as one of her favorite albums. On her song “Sweet Sweet Intuition,” a B-side of “It’s Oh So Quiet,” Reich’s influence is clear. It’s cyclical and dramatically minimalist, with Björk singing slightly out of tempo with a taped loop vocal track, a starkly different version of the song than the \u003ca href=\"https://www.youtube.com/watch?v=bKCBhEpXTPc\" target=\"_blank\" rel=\"noopener\">album’s original\u003c/a>.\u003c/p>\n\u003ch3>4. The Orb\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=FHixChYgGRI\u003c/p>\n\u003cp>In the 90’s, British electronic group The Orb occupied a singular — and helpful — space in the house music scene, making “ambient house” for people coming down from club drugs. In 1990, they released “Little Fluffy Clouds,” a dreamy track built around an unauthorized sample of a Rickie Lee Jones interview describing the idyllic landscapes of her childhood. The sample can be traced back to Reich and his early pieces “\u003ca href=\"https://www.youtube.com/watch?v=vugqRAX7xQE\" target=\"_blank\" rel=\"noopener\">It’s Gonna Rain\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=g0WVh1D0N50\" target=\"_blank\" rel=\"noopener\">Come Out\u003c/a>,” both which pioneered the use of spoken-word samples. But there’s a more direct link to Reich’s work: the song also includes a sample of his 1987 piece \u003ca href=\"https://www.youtube.com/watch?v=plL2VDAoThU\" target=\"_blank\" rel=\"noopener\">Electric Counterpoint\u003c/a>, performed by guitarist Pat Metheny, wherein Metheny plays against a recording of himself, alternating in and out of harmony. Orb’s song was a hit — it was later used by Volkswagen to \u003ca href=\"https://www.youtube.com/watch?v=HrCye2w10vE\" target=\"_blank\" rel=\"noopener\">promote the new Beetle\u003c/a> — and Reich was apparently chuffed by the inclusion, later asking the group to remix one of his songs.\u003c/p>\n\u003ch3>5. Tangerine Dream\u003c/h3>\n\u003cp>https://youtu.be/BKOpN1Q4fNQ?t=1m55s\u003c/p>\n\u003cp>Allegedly, the filmmakers behind 1983’s \u003cem>Risky Business\u003c/em> originally wanted Steve Reich for the soundtrack, and after he declined, they tapped Tangerine Dream for the job. Whether or not that’s true, there’s no denying Reich’s influence on the film’s soundtrack, particularly on “Love On A Real Train,” which scores the moodily sexy, silent love scene between Joel and Lana. The sparse, minimal track shamelessly borrows Reich’s pulses and style of repetition. According to another urban legend, when asked what he thought of the soundtrack, Reich \u003ca href=\"http://forums.stevehoffman.tv/threads/recommend-me-some-tangerine-dream.189553/\" target=\"_blank\" rel=\"noopener\">allegedly snapped\u003c/a>, “They were paid to rip me off.”\u003c/p>\n\u003ch3>6. Madlib & MF Doom\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jytxkJUM_7U\u003c/p>\n\u003cp>In 2004, Madlib and MF Doom’s Madvillainy album excited and confounded hip-hop heads in equal measure: it skittered with a loping boom-bap beat, yet flaunted tradition with lyrical non sequiturs, short track lengths, high-pitched vocals and bizarre, chopped samples. One of those samples introduces “America’s Most Blunted” — a monotone voice saying “I had to, like, open the bruise up, and let some of the bruise blood come out to show them,” and then oddly repeating the phrase “come out to show them” several times before the beat kicks in. Fans of the massively popular album might be surprised that the outré intro isn’t a Madlib idea — it’s Reich’s influence yet again, lifted directly from his 1966 tape composition “\u003ca href=\"https://en.wikipedia.org/wiki/Come_Out_(Reich)\" target=\"_blank\" rel=\"noopener\">Come Out\u003c/a>.” In \u003ca href=\"http://www.electronicbeats.net/youve-got-to-pay-your-dues-madlib-talks-to-thomas-fehlmann/\" target=\"_blank\" rel=\"noopener\">this interview\u003c/a> between Madlib and the Orb’s Thomas Fehlmann, in fact, the two bond over having to get permission to use Steve Reich samples. The guy knows his own worth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Steve Reich appears for an 80th birthday tribute with the San Francisco Symphony at Davies Symphony Hall on Sunday, Sept. 11. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Reich may not have the immediate name recognition of other minimalist composers like John Cage or Philip Glass, but after a few minutes of listening to his music, you might be surprised at how much of it sounds familiar.\u003c/p>\n\u003cp>Spoken-word samples? Reich was one of the first musicians to use them — \u003cem>Rolling Stone\u003c/em> once \u003ca href=\"http://www.rollingstone.com/music/news/the-father-of-sampling-speaks-19990327\" target=\"_blank\" rel=\"noopener\">called him\u003c/a> the “father of sampling.” Listen to EDM? Some scholars \u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520245501\" target=\"_blank\" rel=\"noopener\">have suggested\u003c/a> its repetitive nature has origins in minimalism, which Reich developed in the early sixties. And if you play music yourself, you’ve probably experimented with some form of phasing, another Reich invention — the act of two musicians (or tracks) who start playing at the same tempo, with one veering incrementally off-tempo before aligning once again.\u003c/p>\n\u003cp>In October, Reich turns 80. His life’s adventures include attending Mills College for graduate school, becoming involved with the experimental San Francisco Tape Music Center, and pioneering minimalism with friend and colleague Terry Riley. This weekend, the San Francisco Symphony celebrates the milestone with a \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">program of Reich’s work\u003c/a>, featuring performances by the Kronos Quartet, Eighth Blackbird and Reich himself. In his honor, we’ve collected six popular songs bearing his influence — you might not know Reich’s name, but you’ve definitely heard his impact.\u003c/p>\n\u003ch3>1. Sufjan Stevens\u003c/h3>\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/4EasZXhJzBQ'\n title='//www.youtube.com/embed/4EasZXhJzBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2007, Sufjan Stevens was asked to name his top five albums at a literary event. He only \u003ca href=\"http://www.nonesuch.com/journal/steve-reichs-music-for-18-musicians-on-sufjan-stevens-top-five\" target=\"_blank\" rel=\"noopener\">named one\u003c/a>: \u003cem>Music For 18 Musicians\u003c/em>. Reich’s most famous piece, \u003cem>Music for 18 Musicians\u003c/em> is centered around a repeating progression of 11 chords — there’s a short piece of music corresponding to each chord, with each segment eventually folding seamlessly back into the piece’s rhythmic backbone, a series of pulses anchoring the piece. Reich’s influence is apparent on several of Stevens’ songs, but it’s especially obvious on the last track of the 2005 album \u003cem>Illinois\u003c/em>. “Out of Egypt, into the Great Laugh of Mankind, and I Shake the Dirt from My Sandals as I Run” is a an instrumental straight out of the Reich playbook, built around shimmery pulses and forgoing Stevens’ typical overstuffed songs for a minimal, cyclical approach.\u003c/p>\n\u003ch3>2. David Bowie\u003c/h3>\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/PK1alQN3MDg'\n title='//www.youtube.com/embed/PK1alQN3MDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1976, Reich premiered \u003cem>Music for 18 Musicians\u003c/em> at Berlin’s Nationalgalerie. In the audience was David Bowie, who was living in Berlin, trying to kick coke and working on what would become 1977’s \u003cem>Low\u003c/em>. Recently, Reich \u003ca href=\"https://www.theguardian.com/music/2014/sep/11/steve-reich-radiohead-interview-phillip-glass\" target=\"_blank\" rel=\"noopener\">told the Guardian\u003c/a> he was surprised to hear echoes of himself on the album: “I think ‘Weeping Wall’ on \u003cem>Low\u003c/em> is somewhat indebted to that [performance]. That’s the beginning of my contact with popular music.” According to Bowie, the restless, slightly unsettling instrumental was written to evoke the Berlin Wall. It also evokes Reich: the song’s pulses, xylophone and vibraphone — plus the use of the human voice as just another instrument — are all similar to \u003cem>18 Musicians\u003c/em>.\u003c/p>\n\u003ch3>3. Björk\u003c/h3>\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/47pslSyGdIw'\n title='//www.youtube.com/embed/47pslSyGdIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Björk is another vocal Reich fan, citing his his 1981 composition \u003ca href=\"https://www.youtube.com/watch?v=mjnVN6-Wx08\" target=\"_blank\" rel=\"noopener\">Tehillim\u003c/a> — structured around four Psalms, with a rhythm corresponding to the Hebrew singing — as one of her favorite albums. On her song “Sweet Sweet Intuition,” a B-side of “It’s Oh So Quiet,” Reich’s influence is clear. It’s cyclical and dramatically minimalist, with Björk singing slightly out of tempo with a taped loop vocal track, a starkly different version of the song than the \u003ca href=\"https://www.youtube.com/watch?v=bKCBhEpXTPc\" target=\"_blank\" rel=\"noopener\">album’s original\u003c/a>.\u003c/p>\n\u003ch3>4. The Orb\u003c/h3>\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/FHixChYgGRI'\n title='//www.youtube.com/embed/FHixChYgGRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 90’s, British electronic group The Orb occupied a singular — and helpful — space in the house music scene, making “ambient house” for people coming down from club drugs. In 1990, they released “Little Fluffy Clouds,” a dreamy track built around an unauthorized sample of a Rickie Lee Jones interview describing the idyllic landscapes of her childhood. The sample can be traced back to Reich and his early pieces “\u003ca href=\"https://www.youtube.com/watch?v=vugqRAX7xQE\" target=\"_blank\" rel=\"noopener\">It’s Gonna Rain\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=g0WVh1D0N50\" target=\"_blank\" rel=\"noopener\">Come Out\u003c/a>,” both which pioneered the use of spoken-word samples. But there’s a more direct link to Reich’s work: the song also includes a sample of his 1987 piece \u003ca href=\"https://www.youtube.com/watch?v=plL2VDAoThU\" target=\"_blank\" rel=\"noopener\">Electric Counterpoint\u003c/a>, performed by guitarist Pat Metheny, wherein Metheny plays against a recording of himself, alternating in and out of harmony. Orb’s song was a hit — it was later used by Volkswagen to \u003ca href=\"https://www.youtube.com/watch?v=HrCye2w10vE\" target=\"_blank\" rel=\"noopener\">promote the new Beetle\u003c/a> — and Reich was apparently chuffed by the inclusion, later asking the group to remix one of his songs.\u003c/p>\n\u003ch3>5. Tangerine Dream\u003c/h3>\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/BKOpN1Q4fNQ'\n title='//www.youtube.com/embed/BKOpN1Q4fNQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Allegedly, the filmmakers behind 1983’s \u003cem>Risky Business\u003c/em> originally wanted Steve Reich for the soundtrack, and after he declined, they tapped Tangerine Dream for the job. Whether or not that’s true, there’s no denying Reich’s influence on the film’s soundtrack, particularly on “Love On A Real Train,” which scores the moodily sexy, silent love scene between Joel and Lana. The sparse, minimal track shamelessly borrows Reich’s pulses and style of repetition. According to another urban legend, when asked what he thought of the soundtrack, Reich \u003ca href=\"http://forums.stevehoffman.tv/threads/recommend-me-some-tangerine-dream.189553/\" target=\"_blank\" rel=\"noopener\">allegedly snapped\u003c/a>, “They were paid to rip me off.”\u003c/p>\n\u003ch3>6. Madlib & MF Doom\u003c/h3>\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/jytxkJUM_7U'\n title='//www.youtube.com/embed/jytxkJUM_7U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, Madlib and MF Doom’s Madvillainy album excited and confounded hip-hop heads in equal measure: it skittered with a loping boom-bap beat, yet flaunted tradition with lyrical non sequiturs, short track lengths, high-pitched vocals and bizarre, chopped samples. One of those samples introduces “America’s Most Blunted” — a monotone voice saying “I had to, like, open the bruise up, and let some of the bruise blood come out to show them,” and then oddly repeating the phrase “come out to show them” several times before the beat kicks in. Fans of the massively popular album might be surprised that the outré intro isn’t a Madlib idea — it’s Reich’s influence yet again, lifted directly from his 1966 tape composition “\u003ca href=\"https://en.wikipedia.org/wiki/Come_Out_(Reich)\" target=\"_blank\" rel=\"noopener\">Come Out\u003c/a>.” In \u003ca href=\"http://www.electronicbeats.net/youve-got-to-pay-your-dues-madlib-talks-to-thomas-fehlmann/\" target=\"_blank\" rel=\"noopener\">this interview\u003c/a> between Madlib and the Orb’s Thomas Fehlmann, in fact, the two bond over having to get permission to use Steve Reich samples. The guy knows his own worth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Steve Reich appears for an 80th birthday tribute with the San Francisco Symphony at Davies Symphony Hall on Sunday, Sept. 11. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-an-icon-of-minimalism-a-standup-politician-and-a-cure-for-those-post-labor-day-back-to-work-blues",
"title": "Cy and David's Picks: An Icon of Minimalism, a Standup Politician, and a Cure for Those Post-Labor Day Back-to-Work Blues",
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"headTitle": "Cy and David’s Picks: An Icon of Minimalism, a Standup Politician, and a Cure for Those Post-Labor Day Back-to-Work Blues | 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/280972596″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=–hus_Sq6k4\u003c/p>\n\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OuVGbdiMmLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yS2IBMQIjDo\u003c/p>\n\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Cy and David's Picks: An Icon of Minimalism, a Standup Politician, and a Cure for Those Post-Labor Day Back-to-Work Blues | KQED",
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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='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/280972596″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/280972596″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 7-11: \u003c/strong>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony (SFS)\u003c/a> kicks off the season with a few pop favorites, but also an 80th birthday tribute to \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/Steve-Reich-An-American-Maverick.aspx\" target=\"_blank\" rel=\"noopener\">Steve Reich\u003c/a>, a pioneer of minimalism, and a former Mils College student. Skip the gala on Wednesday (though mezzo-soprano Susan Graham and soprana Rene Fleming will provide terrific ear candy), and catch one of the shows Friday through Sunday, when Reich will take a bigger share of the program. Conductor and Music Director Michael Tilson Thomas, a longtime champion of Reich and other American mavericks, has invited both the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> and \u003ca href=\"http://www.eighthblackbird.org/\" target=\"_blank\" rel=\"noopener\">Eighth Blackbird\u003c/a> to help out as they explore a classic set of Reich compositions including “Double Sextet,” “Three Movements,” “Six Marimbas and “Different Trains.” Minimalism was never more complex.\u003c/p>\n\u003cdiv class=\"work-credit program-item\">\n\u003cfigure id=\"attachment_12010490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010490\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg\" alt=\"Tracy Letts, author of 'August: Osage County'\" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1180x860.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-1920x1400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tracy-Letts-e1472765806998-960x700.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Letts, author of ‘August: Osage County’ \u003ccite>(Photo: Courtesy of Marin Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp>\u003cstrong>Sept. 8-Oct. 2:\u003c/strong> The Marin Theatre Company had a great season last year, and kicks off its 50th year with the challenging August: Osage County by Tracy Letts. This Pulitzer Prize winner is about a very dysfunctional family gathering in Oklahoma (“O’Neill for Okies” in one description), and is based on some Letts’ own family history. Don’t judge this based on the over-the-top Meryl Streep, Julia Roberts, Chris Cooper, Sam Shepard film. It’s a much more nuanced powerhouse on stage. Details \u003ca href=\"http://www.marintheatre.org/productions/august-osage-county\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OuVGbdiMmLY'\n title='//www.youtube.com/embed/OuVGbdiMmLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 4:\u003c/strong> \u003ca href=\"https://thewhitepanda.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The White Panda\u003c/a> are two boyhood friends from Chicago who were easily distractable in college, and are now among the leading DJ duos in the country, specializing in mashups of pop, rock and hip hop hits. \u003cem>Entertainment Weekly\u003c/em> has called The White Panda “a veritable party machine,” with more than 100 million SoundCloud & YouTube streams. With great success comes great responsibility or not. Details for their show Sunday at The Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1201405-white-panda-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010696\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg\" alt=\"Tom Ammiano opens a new solo show at The Marsh in San Francisco\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-1920x1355.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Tom-Ammiano-3-Cody-Pickens-e1472770809310-960x678.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Ammiano opens a new solo show at The Marsh in San Francisco \u003ccite>(Photo: Cody Pickens/The Marsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 8-Oct. 15\u003c/strong>: Tom Ammiano is back on the stage in San Francisco. The former teacher, school board president, supervisor, and state assemblyman used to do standup at the now defunct Josies Cabaret in the Castro before running for public office. He’s a voice for LGBTQ rights, access to health care and other progressive causes throughout his political life, but also in his comedy work. You can hear his weakness for a punchline in this exchange where he explained how he educated his fellow lawmakers about sexual politics, including one Republican assemblywoman who insisted on saying being gay was a sexual preference: “And she kept saying on the floor, ‘sexual preference.’ And I did go up to her and said my sexual orientation is gay, but my sexual preference is Brad Pitt.” Details for the run of Ammiano’s show \u003cem>Mincing Words\u003c/em> at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yS2IBMQIjDo'\n title='//www.youtube.com/embed/yS2IBMQIjDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 3-5:\u003c/strong> So maybe Labor Day is not our last chance for summer fun (summer ends Sept. 21, duh) but that’s the ritual, and we respect any ritual that demands we take in some live entertainment. So here are some choices:\u003c/p>\n\u003cp>Take the ferry to the annual Sausalito Art Festival, where the Squirrel Nut Zippers are on the bill with The Blind Boys of Alabahama, Charlie Musselwhite, and The Zombies (kind of zombified after 54 years of touring). Details \u003ca href=\"http://sausalitoartfestival.org/entertainment-2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Tradition also demands that we mention The Scottish Highland Games, where kilts and good beer are appreciated along with the caber tossing. Details for the two-day fest at the Alameda County Fairgrounds are \u003ca href=\"http://www.thescottishgames.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12010701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12010701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png\" alt=\"SF Comic Con \" width=\"800\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-800x294.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-400x147.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con-768x282.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/SF-Comic-Con.png 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Comic Con \u003ccite>(Photo: Courtesy of San Francisco Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No rest for the geeks over Labor Day. \u003ca href=\"http://sanfrancomiccon.com/\" target=\"_blank\" rel=\"noopener\">Comic Con\u003c/a> comes to San Francisco for the first time, with \u003cem>\u003ca href=\"https://www.netflix.com/title/80002311\" target=\"_blank\" rel=\"noopener\">Jessica Jones\u003c/a> \u003c/em>star Kristyn Ritter, \u003cem>Star Wars\u003c/em> Emperor Ian McDiarmid, cartoonists \u003ca href=\"http://www.savagedragon.com/\" target=\"_blank\" rel=\"noopener\">Erik J. Larsen\u003c/a> (From \u003ca href=\"https://imagecomics.com/\" target=\"_blank\" rel=\"noopener\">Image Comics\u003c/a>) and Paolo Rivera (an Eisner winner), plus Comic Con will feature the \u003ca href=\"http://cartoonart.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Cartoon Art Museum\u003c/a>, homeless now, but still active. Details here.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Cukui Music Festival \u003c/a>Saturday at Santa Clara’s Great America—with Reggae and R&B under the roller coaster. Ozomatli and Bayonics along with Tribal Seeds and others Details \u003ca href=\"http://www.cukuimusicfestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>And for a Cheap Thrill!, try the Golden Gate Park Band at the Golden Gate Concourse on Sunday and Monday for free. Details \u003ca href=\"https://www.facebook.com/Golden-Gate-Park-Band-122062504515831/?hc_ref=PAGES_TIMELINE&fref=nf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12010884\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12010884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg\" alt=\"The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \" width=\"581\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Golden-Gate-Park-Band-400x267.jpg 400w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Park Band plays concerts Sunday and Monday in Golden Gate Park for free \u003ccite>(Photo: Image courtesy of Golden Gate Park Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The organizers behind the annual Sonoma Music Festival announced Wednesday that they have canceled this year’s event, which would have been its 30th, because of low ticket sales.\u003c/p>\n\u003cp>In an announcement posted on \u003ca href=\"http://www.sonomamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">sonomamusicfestival.com\u003c/a>, the promoters lamented that this year’s festival was “slated to be one of the best line-ups in its history, featuring John Fogerty, Steve Miller and Toby Keith.”\u003c/p>\n\u003cp>“Unfortunately, with the addition of an enormous festival at Coachella the same weekend and the following weekend with the Rolling Stones et. al., it is apparent that many of our long-time patrons chose to attend those events rather than our event,” the statement said. ” That circumstance has put our non-profit at a large financial loss jeopardizing our charitable efforts, therefore, we had no choice but to cancel.”\u003c/p>\n\u003cp>The festival was started by Bruce Cohn, founder of the \u003ca href=\"http://www.brcohn.com/\" target=\"_blank\" rel=\"noopener\">B.R. Cohn Winery\u003c/a> and a former manager of the Doobie Brothers, to raise funding for local charities. For the first 28 years, the festival was held on the grounds of the winery but last year, promoters moved the festival to Sonoma’s Field of Dreams, just blocks away from the city’s plaza. That year, with a lineup that included Chicago, Ringo Starr and the Doobie Brothers, the festival \u003ca href=\"http://www.winebusiness.com/news/?go=getArticle&dataid=158728\" target=\"_blank\" rel=\"noopener\">nearly sold out\u003c/a>.\u003c/p>\n\u003cp>Over 29 years, the festival has raised about $7 million for local and national charities such as \u003ca href=\"https://www.fisherhouse.org/\" target=\"_blank\" rel=\"noopener\">the Fisher House\u003c/a>, the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a> and \u003ca href=\"https://www.facebook.com/SonomaSplash/\" target=\"_blank\" rel=\"noopener\">Sonoma Splash.\u003c/a> Tickets this year ranged from \u003ca href=\"http://www.pressdemocrat.com/entertainment/5641038-181/john-fogerty-steve-miller-band?artslide=0\" target=\"_blank\" rel=\"noopener\">$89 to $600.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every charitable music fest in the North Bay is struggling. The 9th annual Petaluma Music Festival, which was held at the Sonoma-Marin Fairgrounds in early August and raised funds for music programs at local schools, almost sold out. The Petaluma lineup included indie rockers such as Jackie Greene and Xavier Rudd, and tickets were far cheaper at \u003ca href=\"http://www.petalumamusicfestival.org/Tickets.asp\" target=\"_blank\" rel=\"noopener\">$45 to $110\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sonoma Music Festival organizers say refunds will be available starting Oct. 1, and they note that re-directing payments to Bruce Cohn Charity Events “would be most appreciated.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The organizers behind the annual Sonoma Music Festival announced Wednesday that they have canceled this year’s event, which would have been its 30th, because of low ticket sales.\u003c/p>\n\u003cp>In an announcement posted on \u003ca href=\"http://www.sonomamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">sonomamusicfestival.com\u003c/a>, the promoters lamented that this year’s festival was “slated to be one of the best line-ups in its history, featuring John Fogerty, Steve Miller and Toby Keith.”\u003c/p>\n\u003cp>“Unfortunately, with the addition of an enormous festival at Coachella the same weekend and the following weekend with the Rolling Stones et. al., it is apparent that many of our long-time patrons chose to attend those events rather than our event,” the statement said. ” That circumstance has put our non-profit at a large financial loss jeopardizing our charitable efforts, therefore, we had no choice but to cancel.”\u003c/p>\n\u003cp>The festival was started by Bruce Cohn, founder of the \u003ca href=\"http://www.brcohn.com/\" target=\"_blank\" rel=\"noopener\">B.R. Cohn Winery\u003c/a> and a former manager of the Doobie Brothers, to raise funding for local charities. For the first 28 years, the festival was held on the grounds of the winery but last year, promoters moved the festival to Sonoma’s Field of Dreams, just blocks away from the city’s plaza. That year, with a lineup that included Chicago, Ringo Starr and the Doobie Brothers, the festival \u003ca href=\"http://www.winebusiness.com/news/?go=getArticle&dataid=158728\" target=\"_blank\" rel=\"noopener\">nearly sold out\u003c/a>.\u003c/p>\n\u003cp>Over 29 years, the festival has raised about $7 million for local and national charities such as \u003ca href=\"https://www.fisherhouse.org/\" target=\"_blank\" rel=\"noopener\">the Fisher House\u003c/a>, the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a> and \u003ca href=\"https://www.facebook.com/SonomaSplash/\" target=\"_blank\" rel=\"noopener\">Sonoma Splash.\u003c/a> Tickets this year ranged from \u003ca href=\"http://www.pressdemocrat.com/entertainment/5641038-181/john-fogerty-steve-miller-band?artslide=0\" target=\"_blank\" rel=\"noopener\">$89 to $600.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every charitable music fest in the North Bay is struggling. The 9th annual Petaluma Music Festival, which was held at the Sonoma-Marin Fairgrounds in early August and raised funds for music programs at local schools, almost sold out. The Petaluma lineup included indie rockers such as Jackie Greene and Xavier Rudd, and tickets were far cheaper at \u003ca href=\"http://www.petalumamusicfestival.org/Tickets.asp\" target=\"_blank\" rel=\"noopener\">$45 to $110\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sonoma Music Festival organizers say refunds will be available starting Oct. 1, and they note that re-directing payments to Bruce Cohn Charity Events “would be most appreciated.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Opera Theater Reemerges with Musical if Gimmicky 'Uksus'",
"headTitle": "Oakland Opera Theater Reemerges with Musical if Gimmicky ‘Uksus’ | KQED",
"content": "\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera is a difficult business. So much can go wrong. Even if you have a fine composer, excellent musicians, a strong conductor, and seasoned singers, success is often still highly elusive.\u003c/p>\n\u003cp>Such, regrettably, is the case for \u003cem>Uksus\u003c/em> (“Vinegar”) by composer \u003ca href=\"http://blog.erlingwold.com/\" target=\"_blank\" rel=\"noopener\">Erling Wold\u003c/a>. The chamber opera is based on the life of surrealist writer Daniil Kharms and the short-lived but influential 1930s Soviet avant-garde collective OBERIU. It’s the latest production from the newly resurrected \u003ca href=\"http://www.oaklandopera.org/\" target=\"_blank\" rel=\"noopener\">Oakland Opera Theater\u003c/a> (OOT) at Oakland Metro Opera House, a capacious and multi-faceted black box theater near Jack London Square that also hosts metal shows and underground wrestling matches.\u003c/p>\n\u003cp>Bay Area composer Wold is known for his chamber operas. The first of these, \u003cem>A Little Girl Dreams of Taking the Vei\u003c/em>l, brought him to the attention of OOT in the 1990s.\u003c/p>\n\u003cp>Wold’s musically-captivating if theatrically disorienting \u003cem>Uksus\u003c/em>, which premiered in San Francisco in 2015 to lesser acclaim than his previous opera, \u003cem>Certitude and Joy\u003c/em>, has been revived here with much of the same cast and crew. The only notable exception is the replacement of Duncan Wold (the composer’s son) in the role of Pushkin — Kharms’ used the famous Russian author’s name as an alias.\u003c/p>\n\u003cfigure id=\"attachment_12006046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006046 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/stalin1-e1472684340909.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikola Printz as Stalin and Timur Bekbosunov as Pushkin in Act IV of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music, performed by a small, agile orchestra neatly conducted by Bryan Nies, is a captivating mixture of minimalist arpeggios coupled with jazz. There’s also a little Eastern European styling thrown in for good measure. The talented cast, which includes the inimitable soprano Laura Bohn as Fefjulka and the rich-voiced mezzo Nikola Printz as Our Mama (and in the last act, Stalin), performs the work’s many duets and trios with precision and passion. Tenor Timur Bekbosunov handles the title role capably and flamboyantly.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, the staging of the opera, directed by Jim Cave, doesn’t match the memorable music. The gimmicky feel of the mise-en-scene begins as soon as you entered the venue, with Soviet border guards ordering patrons about, demanding passports and creating a sense of havoc and confusion. We see Pushkin resting on a stretcher. Funeral rites are performed. Another performer declares himself to be a samovar, and gives us a brief sketch of Kharms’ life before ushering us into the house.\u003c/p>\n\u003cp>This pre-performance charade sets the tone for the evening — one that’s absurd and not just a little pretentious. The cast attempts to hold our attention by surrounding us and making eye contact with individuals. One performer even aggressively tried to sweep my feet away from under me with a broom on opening night when I saw the show. Yet the piece lacks enough to grasp onto as far as drama goes. It dissolves into simple spectacle.\u003c/p>\n\u003cfigure id=\"attachment_12006045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12006045 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg\" alt=\"Erling Wold's Uksus\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/oberiu-e1472684447647.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antics of the OBERIU in Act III of Erling Wold’s ‘Uksus’. \u003ccite>(Photo: Oakland Opera Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the plot goes through points of Kharms’ life as a children’s writer, husband, founder of OBERIU, and psychiatric ward prisoner, Wold doesn’t do enough to flesh out his main character. Instead, we get a wacky discourse on meatballs (the dish is apparently what the piece is about, according to a line in Act II), an enormous puppet robot, and dodge balls thrown in our direction.\u003c/p>\n\u003cp>This uneven production comes off as an ambiguous sign for the daring and gritty little Oakland Opera Theater, best known for mounting the well-received west coast premiere of Philip Glass’ \u003cem>Akhnaten\u003c/em> in 2004. The company all but disappeared in 2009, going from two opera productions annually to one every two years.\u003c/p>\n\u003cp>The company’s progress has been hampered in part by real estate woes. It has had to move twice in the last decade. But it’s forging ahead nonetheless.\u003c/p>\n\u003cp>Next up, if OOT manages to sort out a dispute with one of its current neighbors, the organization plans to stage a collaboration with \u003ca href=\"http://touretteswithoutregrets.com/\" target=\"_blank\" rel=\"noopener\">Tourettes without Regrets\u003c/a>, poet Jamie DeWolf’s monthly genre-defying performance art show also at the Oakland Metro. The project is a \u003cem>Romeo and Juliet\u003c/em> opera featuring audience participation. Unlike \u003cem>Uksus\u003c/em>, hopefully the “immersive theater” elements next time around won’t stand in the way of the music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Uksus\u003c/em> plays through Sunday, Sep. 4 at Oakland Metro Opera House in Oakland. For tickets and information, please click \u003ca href=\"http://www.oaklandmetro.org/event/246046\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We're back from summer break! This week, we're talking Taylor Swift's downfall, Britney's comeback, why certain white men are like Teflon, and the history behind the no-white-after-Labor-Day rule.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/08/Teflon.mp3\" title=\"Summer Recap: Ryan Lochte and Other White Dudes Are Teflon, Get Away with Everything\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We start things off by breezing through all the pop culture goings-on we missed this summer, like how the whole world has turned on \u003ca href=\"https://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\">\u003cimg class=\"aligncenter size-full wp-image-34544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\" alt=\"taylor swift no friends gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>How three of \u003ca href=\"https://ww2.kqed.org/pop/tag/spice-girls/\">the Spice Girls\u003c/a> are reuniting, without Sporty and Posh:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-34543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\" alt=\"shut up geri spice girls victoria posh gif\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>How \u003cem>I Am Cait\u003c/em> has finally been cancelled:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\">\u003cimg class=\"aligncenter size-full wp-image-34536\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\" alt=\"evil kim smile gif\" width=\"245\" height=\"237\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4-32x32.gif 32w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>How \u003ca href=\"https://ww2.kqed.org/pop/tag/britney-spears/\">Britney\u003c/a>'s new album is FIRE:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-34545\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\" alt=\"britney oops fire gif\" width=\"500\" height=\"339\">\u003c/a>\u003c/p>\n\u003cp>How Lifetime is trying to distract us from that fact with a rude TV movie about her life:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/24/lifetime-rudely-plans-tv-movie-based-on-the-life-of-britney-spears/\u003c/p>\n\u003cp>How Justin Timberlake is no good:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/17/when-will-justin-timberlake-stop-bringing-up-britneys-cheating-for-sympathy-never/\u003c/p>\n\u003cp>How Ryan Lochte is no good:\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/08/19/roundup-smart-thoughts-on-ryan-lochte-and-white-privilege/\u003c/p>\n\u003cp>How Jared Leto is no good:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\">\u003cimg class=\"aligncenter size-full wp-image-34546\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/179ab250-c373-0132-46b4-0e9062a7590a.gif\" alt=\"so over jordan catalano my so called life gif angela chase\" width=\"245\" height=\"188\">\u003c/a>\u003c/p>\n\u003cp>We hit the history books to figure out why wearing white after Labor Day is considered a no-no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\">\u003cimg class=\"aligncenter size-full wp-image-34547\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/beatlesdancing.gif\" alt=\"beatles dancing white gif\" width=\"500\" height=\"357\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with \"Better,\" a song from Britney's new album, \u003cem>Glory\u003c/em>, which you should totally buy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Atrack%3A4zdRqJjndUXZZLDbjT1MuU\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>If you haven't already, please take our cute, little survey and let us know what you think of the show!\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/06/21/dear-listeners-of-the-cooler-please-take-our-cute-little-survey/\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>We start things off by breezing through all the pop culture goings-on we missed this summer, like how the whole world has turned on \u003ca href=\"https://ww2.kqed.org/pop/tag/taylor-swift/\">Taylor Swift\u003c/a>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\">\u003cimg class=\"aligncenter size-full wp-image-34544\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/6649d210-48cb-0132-0b14-0eae5eefacd9.gif\" alt=\"taylor swift no friends gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>How three of \u003ca href=\"https://ww2.kqed.org/pop/tag/spice-girls/\">the Spice Girls\u003c/a> are reuniting, without Sporty and Posh:\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/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-34543\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mlkq25lwl41qbshgko3_500.gif\" alt=\"shut up geri spice girls victoria posh gif\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>How \u003cem>I Am Cait\u003c/em> has finally been cancelled:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\">\u003cimg class=\"aligncenter size-full wp-image-34536\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-4.gif\" alt=\"evil kim smile gif\" width=\"245\" height=\"237\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/giphy-4-32x32.gif 32w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>How \u003ca href=\"https://ww2.kqed.org/pop/tag/britney-spears/\">Britney\u003c/a>'s new album is FIRE:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-34545\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-5.gif\" alt=\"britney oops fire gif\" width=\"500\" height=\"339\">\u003c/a>\u003c/p>\n\u003cp>How Lifetime is trying to distract us from that fact with a rude TV movie about her life:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How Justin Timberlake is no good:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems Chris Brown can’t avoid trouble.\u003c/p>\n\u003cp>Following a bizarre, hours-long standoff with police, the “Deuces” and “Look At Me Now” singer was arrested Tuesday on suspicion of assault with a deadly weapon after a woman called police for help during a gathering at his Los Angeles home.\u003c/p>\n\u003cp>Model Baylee Curran later told the Los Angeles Times that Brown pointed a gun at her face after he and another man became angry with her when she admired the man’s diamond necklace.\u003c/p>\n\u003cp>It was the latest run-in with the law for the Grammy winning Brown, who has been in repeated legal trouble since his felony conviction in the 2009 assault of his then-girlfriend, Rihanna, ahead of the Grammys. He completed his probation last year in that case.\u003c/p>\n\u003cp>In the Tuesday incident, Brown was released from jail after posting $250,000 bail. His arraignment was tentatively set for Sept. 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The singer was arrested outside the view of news helicopters that swirled overhead and throngs of camera crews gathered at the bottom of his hilltop estate. It marked the conclusion of a nearly 14-hour standoff and investigation.\u003c/p>\n\u003cp>Police spokesman Lt. Chris Ramirez said officers first responded to Brown’s property in the Tarzana area of Los Angeles around 3 a.m. He did not identify the woman who called, elaborate on the assistance she needed, or know if she was injured.\u003c/p>\n\u003cp>Curran told the Times that she and her friend ran from the house and hid under an SUV as one of Brown’s associates gave chase.\u003c/p>\n\u003cp>The model, who hasn’t responded to requests for comment from The Associated Press, told TMZ she’s visited Brown’s home in the past and never encountered any trouble.\u003c/p>\n\u003cp>During the standoff that occurred while police awaited a search warrant, Brown later posted rambling messages on social media proclaiming his innocence and rebuffing reports that he barricaded himself in his “palace.”\u003c/p>\n\u003cp>“Y’all gonna stop playing with me like I’m the villain out here, like I’m going crazy,” he said in one Instagram video, waving a cigarette and looking at the camera. “When you get the warrant or whatever you need to do, you’re going to walk right up in here and you’re going to see nothing. You idiots.”\u003c/p>\n\u003cp>Brown’s attorney, Mark Geragos, arrived at the house before police served the warrant and stayed on the property until Brown was transported for booking.\u003c/p>\n\u003cp>“Thanks to everyone for their support and well wishes. Chris is out and well. The allegations against him are demonstrably false,” Geragos posted on Twitter after the singer posted bail.\u003c/p>\n\u003cp>The standoff and subsequent media attention provided a chaotic scene in typically quiet Tarzana as police closed off streets and rerouted traffic.\u003c/p>\n\u003cp>Throughout the afternoon, several of Brown’s associates descended to the street below Brown’s estate. They declined to identify themselves or answer questions from the media. In some instances, the men were belligerent, flashing obscene hand gestures and grabbing recording equipment.\u003c/p>\n\u003cp>In 2013, Brown struck a man outside a Washington, D.C., hotel and was charged with misdemeanor assault. The singer was ordered into rehab then dismissed from the facility for violating its rules.\u003c/p>\n\u003cp>Brown spent 2½ months in custody, with U.S. marshals shuttling him between Los Angeles and the nation’s capital for court hearings.\u003c/p>\n\u003cp>In another incident while in treatment, Brown was accused of throwing a brick at his mother’s car following a counseling session. It came after Brown completed court-ordered anger management classes.\u003c/p>\n\u003cp>Brown’s first single “Run It!” topped the charts in 2005. Since then, the singer and rapper has had a number of hit songs, including “Loyal” and “Kiss Kiss.” He has also been a featured performer on several hits, such as Jordin Sparks’ “No Air.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP writers Christopher Weber and Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The singer was arrested outside the view of news helicopters that swirled overhead and throngs of camera crews gathered at the bottom of his hilltop estate. It marked the conclusion of a nearly 14-hour standoff and investigation.\u003c/p>\n\u003cp>Police spokesman Lt. Chris Ramirez said officers first responded to Brown’s property in the Tarzana area of Los Angeles around 3 a.m. He did not identify the woman who called, elaborate on the assistance she needed, or know if she was injured.\u003c/p>\n\u003cp>Curran told the Times that she and her friend ran from the house and hid under an SUV as one of Brown’s associates gave chase.\u003c/p>\n\u003cp>The model, who hasn’t responded to requests for comment from The Associated Press, told TMZ she’s visited Brown’s home in the past and never encountered any trouble.\u003c/p>\n\u003cp>During the standoff that occurred while police awaited a search warrant, Brown later posted rambling messages on social media proclaiming his innocence and rebuffing reports that he barricaded himself in his “palace.”\u003c/p>\n\u003cp>“Y’all gonna stop playing with me like I’m the villain out here, like I’m going crazy,” he said in one Instagram video, waving a cigarette and looking at the camera. “When you get the warrant or whatever you need to do, you’re going to walk right up in here and you’re going to see nothing. You idiots.”\u003c/p>\n\u003cp>Brown’s attorney, Mark Geragos, arrived at the house before police served the warrant and stayed on the property until Brown was transported for booking.\u003c/p>\n\u003cp>“Thanks to everyone for their support and well wishes. Chris is out and well. The allegations against him are demonstrably false,” Geragos posted on Twitter after the singer posted bail.\u003c/p>\n\u003cp>The standoff and subsequent media attention provided a chaotic scene in typically quiet Tarzana as police closed off streets and rerouted traffic.\u003c/p>\n\u003cp>Throughout the afternoon, several of Brown’s associates descended to the street below Brown’s estate. They declined to identify themselves or answer questions from the media. In some instances, the men were belligerent, flashing obscene hand gestures and grabbing recording equipment.\u003c/p>\n\u003cp>In 2013, Brown struck a man outside a Washington, D.C., hotel and was charged with misdemeanor assault. The singer was ordered into rehab then dismissed from the facility for violating its rules.\u003c/p>\n\u003cp>Brown spent 2½ months in custody, with U.S. marshals shuttling him between Los Angeles and the nation’s capital for court hearings.\u003c/p>\n\u003cp>In another incident while in treatment, Brown was accused of throwing a brick at his mother’s car following a counseling session. It came after Brown completed court-ordered anger management classes.\u003c/p>\n\u003cp>Brown’s first single “Run It!” topped the charts in 2005. Since then, the singer and rapper has had a number of hit songs, including “Loyal” and “Kiss Kiss.” He has also been a featured performer on several hits, such as Jordin Sparks’ “No Air.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP writers Christopher Weber and Sandy Cohen contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"meta": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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