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"title": "The Tragic Turn of the Frightnrs' First — and Last — Record",
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"content": "\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271731134″ 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>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\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/271731134″&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/271731134″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Police say a hip-hop video shoot shut down parts of Route 66 in New Mexico last weekend because lowriders were driving around in circles as a crowd twerked in the street.\u003c/p>\n\u003cp>KRQE-TV in Albuquerque \u003ca href=\"http://goo.gl/c79Gnr\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> the unauthorized filming in downtown Albuquerque Sunday triggered a long block party, snarling traffic and confusing motorists.\u003c/p>\n\u003cp>Albuquerque police say hip-hop artist Jandro did not receive proper permits to shoot his music video.\u003c/p>\n\u003cp>Police say officers decided to close off parts of the Mother Road because of the lowriders and the street dancing.\u003c/p>\n\u003cp>Albuquerque police spokesman Tanner Tixier says about 300 people took part.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Videographer Editz Macias says his crew filming Jandro took advantage of the unexpected, spontaneous party scene by shooting footage of the festivities.\u003c/p>\n\u003cp>Officers issued no arrests or citations.\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": "\u003cp>E-40's had a \u003ca href=\"https://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\">good few years\u003c/a> -- or decades, depending on when you start counting. The rapper, one of the founding fathers of the hyphy movement, has added commercial success in the \u003ca href=\"https://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\">adult beverage industry\u003c/a> to his roster of far-ranging achievements.\u003c/p>\n\u003cp>But community-minded titan of Bay Area rap that he is, it should hardly be surprising that E-40 (real name: Earl Stevens) likes to pay some of that success forward. In an appearance Aug. 23 at Franklin Middle School in Vallejo -- the school Stevens, a Vallejo native, attended -- the rapper announced he was donating $25,000 in backpacks and other school supplies to help kick the school year off right.\u003c/p>\n\u003cp>\"School is everything,\" he told KTVU reporters, who captured the event in a video below. The former honor roll student is especially heartfelt in talking about his Vallejo pride: \"I just want to be an example, an inspiration, tell [students] you can make it.\" Stevens also wants us to know he spared no expense on the quality of the donated goods. Those backpacks are Jansport. Lifetime guarantee.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gst5lhSHdqg\u003c/p>\n\u003cp>Again, this is hardly out of the ordinary for the Bay Area rapper, who's well-known for being, ahem, loyal to his soil. In 2007, he donated $12,000 to Hogan High School, also in Vallejo, for musical instruments and other band equipment. Between 2013 and 2014, \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\"> he donated\u003c/a> \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\">$12,500 \u003c/a>to \u003ca href=\"http://www.timesheraldonline.com/article/ZZ/20070412/NEWS/704129826\" target=\"_blank\">the Salvation Army\u003c/a>. Meanwhile, his contemporary Mistah F.A.B. hosts a locally legendary turkey giveaway every Thanksgiving -- now in its eighth year. In 2016, he added \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\">an Easter egg hunt\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>E-40's had a \u003ca href=\"https://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\">good few years\u003c/a> -- or decades, depending on when you start counting. The rapper, one of the founding fathers of the hyphy movement, has added commercial success in the \u003ca href=\"https://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\">adult beverage industry\u003c/a> to his roster of far-ranging achievements.\u003c/p>\n\u003cp>But community-minded titan of Bay Area rap that he is, it should hardly be surprising that E-40 (real name: Earl Stevens) likes to pay some of that success forward. In an appearance Aug. 23 at Franklin Middle School in Vallejo -- the school Stevens, a Vallejo native, attended -- the rapper announced he was donating $25,000 in backpacks and other school supplies to help kick the school year off right.\u003c/p>\n\u003cp>\"School is everything,\" he told KTVU reporters, who captured the event in a video below. The former honor roll student is especially heartfelt in talking about his Vallejo pride: \"I just want to be an example, an inspiration, tell [students] you can make it.\" Stevens also wants us to know he spared no expense on the quality of the donated goods. Those backpacks are Jansport. Lifetime guarantee.\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/Gst5lhSHdqg'\n title='//www.youtube.com/embed/Gst5lhSHdqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Again, this is hardly out of the ordinary for the Bay Area rapper, who's well-known for being, ahem, loyal to his soil. In 2007, he donated $12,000 to Hogan High School, also in Vallejo, for musical instruments and other band equipment. Between 2013 and 2014, \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\"> he donated\u003c/a> \u003ca href=\"http://hiphopdx.com/news/id.26784/title.e-40-donates-10-000-to-salvation-army\" target=\"_blank\">$12,500 \u003c/a>to \u003ca href=\"http://www.timesheraldonline.com/article/ZZ/20070412/NEWS/704129826\" target=\"_blank\">the Salvation Army\u003c/a>. Meanwhile, his contemporary Mistah F.A.B. hosts a locally legendary turkey giveaway every Thanksgiving -- now in its eighth year. In 2016, he added \u003ca href=\"https://ww2.kqed.org/arts/2016/03/25/hip-hop-lending-a-hand-mistah-fabs-egg-hunt-philthy-richs-peace-rally/\" target=\"_blank\">an Easter egg hunt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Danny Paul Grody's 'Other States' and the Boundless American West",
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"content": "\u003cp>When I first heard \u003cem>Other States\u003c/em>, the recent album by San Francisco guitarist and composer Danny Paul Grody (known also for his extensive work with local post-rock band \u003ca href=\"https://en.wikipedia.org/wiki/Tarentel_(band)\" target=\"_blank\" rel=\"noopener\">Tarentel\u003c/a>), a chill went down my spine. I felt transported to another place; some nameless place I had been before. Déjà vu of this kind — in the sense of the Freudian uncanny, a seemingly intimate knowledge of something never experienced before — grips me rarely, so when it does, I pay attention.\u003c/p>\n\u003cp>Several listens later, it dawned on me: \u003cem>Other States\u003c/em> is suffused, haunted even, with the spirit of the West. As a born-and-bred Californian, the myriad wonders of our home state — the breathtaking vistas; the boundless landscapes; the entwinement of nature with urbanity; the pioneer sensibility — are part and parcel of my life. Listening to \u003cem>Other States\u003c/em> felt like experiencing California anew from a fresh set of eyes. (Or ears.)\u003c/p>\n\u003cfigure id=\"attachment_11969382\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/pasted-image.jpg\" alt=\"Danny Paul Grody with James Sterling Pitt.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11969382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pasted-image.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pasted-image-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Danny Paul Grody with James Sterling Pitt.\u003c/figcaption>\u003c/figure>\n\u003cp>As it turns out, I was more on the mark than I realized. Grody had recently collaborated with filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and visual artist James Sterling Pitt; Grody’s collaborative process with Pitt later blossomed into the album. “We quickly realized based on conversations and a shared interest in place that we needed to get out of this residency space and go to specific sites in the Bay Area, working together, using those sites as a kind of muse. Then we would come back together with the work we were making in conversation with these places and join these things together.”\u003c/p>\n\u003cp>This sense of exploration invigorates the album, in both a metaphorical and a literal sense, as Grody indicated in conversations with me about the songs. What follows is his own track-by-track exploration of what went into the recording of \u003cem>Other States\u003c/em>, and just for fun, a “Suggested Vista,” courtesy of your humble author, matching each piece to a specific location.\u003c/p>\n\u003cp>“Other States”\u003cbr>\nSuggested vista: A road-side stop high up on Panoramic Hwy. as the sun begins to set\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3139367066/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>This is the collaboration with Paul Clipson that we did some time ago. I’m always thrilled to work with Paul. Working solo in the context of his films brings out something different in my own work. It’s an opportunity for me to try new things, it’s not just me in a room playing; it’s me in a room playing with his films, and those things coming together produces a third thing. Dialectical synthesis! [I envision this piece as] sort of an expanse at night. The way that sometimes in the evening, you have less horizon, and the horizon just sort of becomes forever because you’re not seeing it. In an abstract way, that’s sort of where I was going with this piece.\u003c/p>\n\u003cp>“On Leaving”\u003cbr>\nSuggested vista: A stroll along Ocean Beach at dusk surrounded by fog\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1945713027/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>I do soundtrack work, and I was working on a film in 2013, and wrote this as a potential for that film. Then I re-recorded it and changed a few things around. Being born and raised here, and feeling deeply rooted in the visual landscape of California… it’s so in my blood. It finds its way into my music, into everything, into my sensibility as a person. And for sure this [piece] is tied to that. It’s so sentimental. And I’m okay with going there sometimes. I knew that about it, and that’s why finding the right home for it was so important to me, to contextualize it in a way that didn’t take it over the edge. Somehow, this piece following “Other States” has the right feel, to allow it to be what it needed to be.\u003c/p>\n\u003cp>“For Western Skies”\u003cbr>\nSuggested vista: Driving down the Pacific Coast Highway on a crisp, clear day\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1091618250/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>It’s doesn’t get any more self-consciously “Western” than this. [laughs] This piece is all about being Californian, and the West in genera… the West as a concept. This was one of the only pieces that I recorded specifically for this release. It was written with a lot of intention to push myself further along with my 12-string compositions, which is what this guitar is. This song is like a train, its own little railroad train. I was looking for titles for it — I found myself on some wormhole of looking various Western railroad names — but then it became apparent that that was almost cliche [laughs]. But it definitely elicits the West in general for me.\u003c/p>\n\u003cp>“Mineral Springs”\u003cbr>\nSuggested vista: A gentle hike through a shrouded, lively redwood forest\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2685541060/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The bird in this song sung at night in our backyard for two months straight. It came shortly after my partner’s mother passed away. And her nickname was “Birdie.” There was just something moving and beautiful about this bird that was keeping us up all night [laughing] — I said, You can’t fight it, so why not record it? Mineral Springs was one of the sites that I went to with James Sterling Pitt — one of our directives was to specifically go to natural sites in the Bay Area. Mineral Springs is in Tilden Park in Oakland. We laid down a blanket, he brought his drawing pad, I brought my guitars and some recording equipment, and we just went at it. I felt like it was a really fruitful way to work. This piece is that. This is Mineral Springs. I tried to capture what it was to be there, to see it, to make music there.\u003c/p>\n\u003cp>“Only”\u003cbr>\nSuggested vista: Sitting atop the tree trunk on Grizzly Park Blvd. next to a loved one\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=159549124/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Only” is the oldest recorded work on the record. It just happened — it wasn’t something I had written, more like a sketch that came together as I was recording other material. I have a tendency to want to make things fuller, and add layers… this was an occasion where there was no need for it. I left it alone. That’s why “Only” was the title I chose for it. It’s just its own lone thing. That’s all there is to it. \u003c/p>\n\u003cp>“Cloudhand”\u003cbr>\nSuggested vista: Gazing up at the peak of Mt. Shasta from Bunny Flat\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2256285828/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>To me, this is the real manifestation of the work that James Pitt and I did together. We went from the idea of place as inspiration to trying as well to overlap our practices. What you’re hearing is a bunch of recordings of him sketching and drawing on paper — that’s his pencil on a piece of paper. I also did a bunch of field recordings of the sites we visited — myself walking through grass, through ground, on earth. So I’m actually bringing the literal place, and the literal practice of James’ art, into the context of my own sound world. And there’s no guitar on this recording. I’m really into that; I have to remind myself that it’s okay to put down the guitar, and to find out what I can do in its absence. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This piece is definitely night. I feel the album starts at night and ends with night. I like the idea of things being bookended, somehow, on an album; the mood that’s set in the beginning is answered in some way at the end… it doesn’t need to be a reprise, but I like that there’s a relationship there. This [album] may be the first thing I’ve released that consciously took from different points in my last five years’ worth of recorded material, versus working specifically on something. I’ve learned to be a little less precious about stuff, and just go with my intuition and my gut. And my gut said this album just felt right. C’est la vie.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first heard \u003cem>Other States\u003c/em>, the recent album by San Francisco guitarist and composer Danny Paul Grody (known also for his extensive work with local post-rock band \u003ca href=\"https://en.wikipedia.org/wiki/Tarentel_(band)\" target=\"_blank\" rel=\"noopener\">Tarentel\u003c/a>), a chill went down my spine. I felt transported to another place; some nameless place I had been before. Déjà vu of this kind — in the sense of the Freudian uncanny, a seemingly intimate knowledge of something never experienced before — grips me rarely, so when it does, I pay attention.\u003c/p>\n\u003cp>Several listens later, it dawned on me: \u003cem>Other States\u003c/em> is suffused, haunted even, with the spirit of the West. As a born-and-bred Californian, the myriad wonders of our home state — the breathtaking vistas; the boundless landscapes; the entwinement of nature with urbanity; the pioneer sensibility — are part and parcel of my life. Listening to \u003cem>Other States\u003c/em> felt like experiencing California anew from a fresh set of eyes. (Or ears.)\u003c/p>\n\u003cfigure id=\"attachment_11969382\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/pasted-image.jpg\" alt=\"Danny Paul Grody with James Sterling Pitt.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11969382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pasted-image.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/pasted-image-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Danny Paul Grody with James Sterling Pitt.\u003c/figcaption>\u003c/figure>\n\u003cp>As it turns out, I was more on the mark than I realized. Grody had recently collaborated with filmmaker \u003ca href=\"http://www.withinmirrors.org/\" target=\"_blank\" rel=\"noopener\">Paul Clipson\u003c/a> and visual artist James Sterling Pitt; Grody’s collaborative process with Pitt later blossomed into the album. “We quickly realized based on conversations and a shared interest in place that we needed to get out of this residency space and go to specific sites in the Bay Area, working together, using those sites as a kind of muse. Then we would come back together with the work we were making in conversation with these places and join these things together.”\u003c/p>\n\u003cp>This sense of exploration invigorates the album, in both a metaphorical and a literal sense, as Grody indicated in conversations with me about the songs. What follows is his own track-by-track exploration of what went into the recording of \u003cem>Other States\u003c/em>, and just for fun, a “Suggested Vista,” courtesy of your humble author, matching each piece to a specific location.\u003c/p>\n\u003cp>“Other States”\u003cbr>\nSuggested vista: A road-side stop high up on Panoramic Hwy. as the sun begins to set\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3139367066/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>This is the collaboration with Paul Clipson that we did some time ago. I’m always thrilled to work with Paul. Working solo in the context of his films brings out something different in my own work. It’s an opportunity for me to try new things, it’s not just me in a room playing; it’s me in a room playing with his films, and those things coming together produces a third thing. Dialectical synthesis! [I envision this piece as] sort of an expanse at night. The way that sometimes in the evening, you have less horizon, and the horizon just sort of becomes forever because you’re not seeing it. In an abstract way, that’s sort of where I was going with this piece.\u003c/p>\n\u003cp>“On Leaving”\u003cbr>\nSuggested vista: A stroll along Ocean Beach at dusk surrounded by fog\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1945713027/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>I do soundtrack work, and I was working on a film in 2013, and wrote this as a potential for that film. Then I re-recorded it and changed a few things around. Being born and raised here, and feeling deeply rooted in the visual landscape of California… it’s so in my blood. It finds its way into my music, into everything, into my sensibility as a person. And for sure this [piece] is tied to that. It’s so sentimental. And I’m okay with going there sometimes. I knew that about it, and that’s why finding the right home for it was so important to me, to contextualize it in a way that didn’t take it over the edge. Somehow, this piece following “Other States” has the right feel, to allow it to be what it needed to be.\u003c/p>\n\u003cp>“For Western Skies”\u003cbr>\nSuggested vista: Driving down the Pacific Coast Highway on a crisp, clear day\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1091618250/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>It’s doesn’t get any more self-consciously “Western” than this. [laughs] This piece is all about being Californian, and the West in genera… the West as a concept. This was one of the only pieces that I recorded specifically for this release. It was written with a lot of intention to push myself further along with my 12-string compositions, which is what this guitar is. This song is like a train, its own little railroad train. I was looking for titles for it — I found myself on some wormhole of looking various Western railroad names — but then it became apparent that that was almost cliche [laughs]. But it definitely elicits the West in general for me.\u003c/p>\n\u003cp>“Mineral Springs”\u003cbr>\nSuggested vista: A gentle hike through a shrouded, lively redwood forest\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2685541060/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The bird in this song sung at night in our backyard for two months straight. It came shortly after my partner’s mother passed away. And her nickname was “Birdie.” There was just something moving and beautiful about this bird that was keeping us up all night [laughing] — I said, You can’t fight it, so why not record it? Mineral Springs was one of the sites that I went to with James Sterling Pitt — one of our directives was to specifically go to natural sites in the Bay Area. Mineral Springs is in Tilden Park in Oakland. We laid down a blanket, he brought his drawing pad, I brought my guitars and some recording equipment, and we just went at it. I felt like it was a really fruitful way to work. This piece is that. This is Mineral Springs. I tried to capture what it was to be there, to see it, to make music there.\u003c/p>\n\u003cp>“Only”\u003cbr>\nSuggested vista: Sitting atop the tree trunk on Grizzly Park Blvd. next to a loved one\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=159549124/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Only” is the oldest recorded work on the record. It just happened — it wasn’t something I had written, more like a sketch that came together as I was recording other material. I have a tendency to want to make things fuller, and add layers… this was an occasion where there was no need for it. I left it alone. That’s why “Only” was the title I chose for it. It’s just its own lone thing. That’s all there is to it. \u003c/p>\n\u003cp>“Cloudhand”\u003cbr>\nSuggested vista: Gazing up at the peak of Mt. Shasta from Bunny Flat\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3806014467/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2256285828/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>To me, this is the real manifestation of the work that James Pitt and I did together. We went from the idea of place as inspiration to trying as well to overlap our practices. What you’re hearing is a bunch of recordings of him sketching and drawing on paper — that’s his pencil on a piece of paper. I also did a bunch of field recordings of the sites we visited — myself walking through grass, through ground, on earth. So I’m actually bringing the literal place, and the literal practice of James’ art, into the context of my own sound world. And there’s no guitar on this recording. I’m really into that; I have to remind myself that it’s okay to put down the guitar, and to find out what I can do in its absence. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This piece is definitely night. I feel the album starts at night and ends with night. I like the idea of things being bookended, somehow, on an album; the mood that’s set in the beginning is answered in some way at the end… it doesn’t need to be a reprise, but I like that there’s a relationship there. This [album] may be the first thing I’ve released that consciously took from different points in my last five years’ worth of recorded material, versus working specifically on something. I’ve learned to be a little less precious about stuff, and just go with my intuition and my gut. And my gut said this album just felt right. C’est la vie.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Belgian musician Toots Thielemans, who turned the lowly harmonica into a virtuoso jazz instrument during an illustrious career that saw him perform with such legends as Charlie Parker, has died. He was 94.\u003c/p>\n\u003cp>Thielemans, who also made a mark on pop culture with solos on movies and the theme for TV’s \u003cem>Sesame Street\u003c/em>, died in his sleep in a Belgian hospital on Monday, his manager said. He was hospitalized last month after a fall, but had been in good spirits after an operation on his shoulder.\u003c/p>\n\u003cp>“He was so happy. He was doing well,” manager Veerle Van de Poel said.\u003c/p>\n\u003cp>“We were very surprised” by his passing, she said. “He was sleeping, and he did not wake this morning.”\u003c/p>\n\u003cp>Thielemans hung up his harmonica in 2014 as health problems made it more difficult for him to take to the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although his name wasn’t widely known outside the jazz world, many heard his harmonica playing, including generations of children who grew up with the opening theme to \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>His harmonica was also prominently featured on movie soundtracks, including those of the Oscar-winning \u003cem>Midnight Cowboy\u003c/em>, \u003cem>The Pawnbroker\u003c/em>, \u003cem>Jean de Florette\u003c/em>, and \u003cem>The Sugarland Express\u003c/em>. Also adept as a whistler, he could be heard on the Old Spice after-shave commercials. He performed and recorded with Benny Goodman, Miles Davis, Ella Fitzgerald, Oscar Peterson, Herbie Hancock, Quincy Jones, Paul Simon and Billy Joel, among many others.\u003c/p>\n\u003cp>Despite suffering from asthma much of his life, Thielemans breathed artistic life into an instrument many dismiss as a toy. In the jazz world, he was the first to use the harmonica to blow complex bebop lines. He played a custom-made Hohner chromatic harmonica – different from the diatonic harmonica used by blues players – which has a slide making it possible to play three octaves in all keys.\u003c/p>\n\u003cp>“It’s such a freak of an instrument,” Thielemans said in a 1992 AP interview. “There’s technical obstacles to how fast and legato you can play. … What I’ve spent my time on is to try to find things that are playable on the instrument. This is not a good instrument but I blow my brains out on it.”\u003c/p>\n\u003cp>His zest for life was apparent in his only major hit that moved into the popular mainstream —the upbeat “Bluesette” which he first recorded in 1962, on which he showcased his signature style of whistling and playing guitar in unison.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Oi4G6UmYK9U\u003c/p>\n\u003cp>“If there’s a piece of music that describes me, it’s that song,” he told The AP.\u003c/p>\n\u003cp>Thielemans was beloved in his native Belgium, not least because he always took pride in his humble background growing up in Brussels’ Marolles neighborhood.\u003c/p>\n\u003cp>He was ennobled by Belgium’s King Albert II with the title of baron in 2001 and received the U.S. National Endowment for the Arts Jazz Masters award in 2009, the nation’s highest jazz honor.\u003c/p>\n\u003cp>Belgium’s royal family said it was “deeply moved by (the) passing away of Toots Thielemans, one of the greatest jazzmen.”\u003c/p>\n\u003cp>“We have lost a great musician, a heartwarming personality. All my thoughts are with the family and friends of Toots Thielemans,” Belgian Prime Minister Charles Michel tweeted.\u003c/p>\n\u003cp>Born in Brussels on April 29, 1922, Jean-Baptiste Frederic Isidore Thielemans began playing the accordion at age 3.\u003c/p>\n\u003cp>He discovered jazz after the German occupation began in 1940. But after sitting in with local combos, his friends advised him to get “a real instrument.”\u003c/p>\n\u003cp>He taught himself to play guitar, mostly by listening to records of the legendary Belgian-born Gypsy jazz guitarist, Django Reinhardt.\u003c/p>\n\u003cp>When he took out his harmonica again after about two years, Thielemans said it was like discovering “an old friend.”\u003c/p>\n\u003cp>In 1945, as he was making a name for himself as a guitarist in local jazz clubs and dance halls, friends decided that his given name wasn’t hip enough. So he became “Toots.”\u003c/p>\n\u003cp>When the first bebop records by Parker and Dizzy Gillespie reached Belgium in the postwar years, Thielemans found his musical “prophets.”\u003c/p>\n\u003cp>In 1948, he made his first visit to the United States, and stopped off in New York on his way home. An agent heard him sitting in with Howard McGhee’s band at a local club, and a few months later, he received a letter at his Brussels home, inviting him to join Benny Goodman’s band.\u003c/p>\n\u003cp>Union rules prevented the Belgian from joining the clarinetist in New York, but he appeared with Goodman’s band in Europe in 1949 and 1950. Thielemans moved to New York in 1952, getting a chance to play with Parker’s All-Stars.\u003c/p>\n\u003cp>From 1953 to 1959, he played guitar and some harmonica with pianist George Shearing’s quintet, then one of the top jazz combos. While with Shearing, he added whistling to his repertoire.\u003c/p>\n\u003cp>His first U.S. album as a leader, \u003cem>The Sound\u003c/em>, came out in 1955. One of his favorite records was \u003cem>Affinity\u003c/em>, a 1979 session on which he played with pianist Bill Evans’ trio.\u003c/p>\n\u003cp>Since 1959, Thielemans led his own small groups and toured internationally when not working in the studios.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AlB7QbenjC0\u003c/p>\n\u003cp>Although mostly recording straight-ahead jazz albums, he released two albums in the 1990s as \u003cem>The Brasil Project\u003c/em>, featuring such prominent Brazilian artists as Dori Caymmi, Gilberto Gil, Milton Nascimento and Caetano Veloso.\u003c/p>\n\u003cp>A jazz festival held in his name was due to take place from Sept. 9 – 11 in the town of La Hulpe, about 25 kilometers (16 miles) southeast of Brussels, where Thielemans lived.\u003c/p>\n\u003cp>Van de Poel said his funeral will be held in the town on Saturday morning.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Gans reported from New York. Associated Press writer Raf Casert in Brussels contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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In the jazz world, he was the first to use the harmonica to blow complex bebop lines. He played a custom-made Hohner chromatic harmonica – different from the diatonic harmonica used by blues players – which has a slide making it possible to play three octaves in all keys.\u003c/p>\n\u003cp>“It’s such a freak of an instrument,” Thielemans said in a 1992 AP interview. “There’s technical obstacles to how fast and legato you can play. … What I’ve spent my time on is to try to find things that are playable on the instrument. This is not a good instrument but I blow my brains out on it.”\u003c/p>\n\u003cp>His zest for life was apparent in his only major hit that moved into the popular mainstream —the upbeat “Bluesette” which he first recorded in 1962, on which he showcased his signature style of whistling and playing guitar in unison.\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/Oi4G6UmYK9U'\n title='//www.youtube.com/embed/Oi4G6UmYK9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“If there’s a piece of music that describes me, it’s that song,” he told The AP.\u003c/p>\n\u003cp>Thielemans was beloved in his native Belgium, not least because he always took pride in his humble background growing up in Brussels’ Marolles neighborhood.\u003c/p>\n\u003cp>He was ennobled by Belgium’s King Albert II with the title of baron in 2001 and received the U.S. National Endowment for the Arts Jazz Masters award in 2009, the nation’s highest jazz honor.\u003c/p>\n\u003cp>Belgium’s royal family said it was “deeply moved by (the) passing away of Toots Thielemans, one of the greatest jazzmen.”\u003c/p>\n\u003cp>“We have lost a great musician, a heartwarming personality. All my thoughts are with the family and friends of Toots Thielemans,” Belgian Prime Minister Charles Michel tweeted.\u003c/p>\n\u003cp>Born in Brussels on April 29, 1922, Jean-Baptiste Frederic Isidore Thielemans began playing the accordion at age 3.\u003c/p>\n\u003cp>He discovered jazz after the German occupation began in 1940. But after sitting in with local combos, his friends advised him to get “a real instrument.”\u003c/p>\n\u003cp>He taught himself to play guitar, mostly by listening to records of the legendary Belgian-born Gypsy jazz guitarist, Django Reinhardt.\u003c/p>\n\u003cp>When he took out his harmonica again after about two years, Thielemans said it was like discovering “an old friend.”\u003c/p>\n\u003cp>In 1945, as he was making a name for himself as a guitarist in local jazz clubs and dance halls, friends decided that his given name wasn’t hip enough. So he became “Toots.”\u003c/p>\n\u003cp>When the first bebop records by Parker and Dizzy Gillespie reached Belgium in the postwar years, Thielemans found his musical “prophets.”\u003c/p>\n\u003cp>In 1948, he made his first visit to the United States, and stopped off in New York on his way home. An agent heard him sitting in with Howard McGhee’s band at a local club, and a few months later, he received a letter at his Brussels home, inviting him to join Benny Goodman’s band.\u003c/p>\n\u003cp>Union rules prevented the Belgian from joining the clarinetist in New York, but he appeared with Goodman’s band in Europe in 1949 and 1950. Thielemans moved to New York in 1952, getting a chance to play with Parker’s All-Stars.\u003c/p>\n\u003cp>From 1953 to 1959, he played guitar and some harmonica with pianist George Shearing’s quintet, then one of the top jazz combos. While with Shearing, he added whistling to his repertoire.\u003c/p>\n\u003cp>His first U.S. album as a leader, \u003cem>The Sound\u003c/em>, came out in 1955. One of his favorite records was \u003cem>Affinity\u003c/em>, a 1979 session on which he played with pianist Bill Evans’ trio.\u003c/p>\n\u003cp>Since 1959, Thielemans led his own small groups and toured internationally when not working in the studios.\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/AlB7QbenjC0'\n title='//www.youtube.com/embed/AlB7QbenjC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although mostly recording straight-ahead jazz albums, he released two albums in the 1990s as \u003cem>The Brasil Project\u003c/em>, featuring such prominent Brazilian artists as Dori Caymmi, Gilberto Gil, Milton Nascimento and Caetano Veloso.\u003c/p>\n\u003cp>A jazz festival held in his name was due to take place from Sept. 9 – 11 in the town of La Hulpe, about 25 kilometers (16 miles) southeast of Brussels, where Thielemans lived.\u003c/p>\n\u003cp>Van de Poel said his funeral will be held in the town on Saturday morning.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Gans reported from New York. Associated Press writer Raf Casert in Brussels contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lou Pearlman, the impresario behind boy band giants such as the Backstreet Boys and *NSYNC, has died in prison while serving a 25-year sentence tied to a $300 million Ponzi scheme.\u003c/p>\n\u003cp>The Federal Bureau of Prisons said 62-year-old Pearlman died Friday, without specifying a cause of death.\u003c/p>\n\u003cp>Along with the Ponzi scheme allegations, Pearlman faced accusations of sexual misconduct against numerous young boy band members, \u003ca href=\"http://www.vanityfair.com/news/2007/11/pearlman200711\" target=\"_blank\" rel=\"noopener\">first detailed in a 2007 Vanity Fair article\u003c/a>.\u003c/p>\n\u003cp>“Some, especially the teenagers, shrugged and giggled when he showed them pornographic movies or jumped naked on their beds in the morning to wrestle and play. Others, it appears, didn’t get off so easily,” the article read. “For any number of young men who sought to join the world’s greatest boy bands, Big Poppa’s attentions were an open secret, the price some paid for fame.”\u003c/p>\n\u003cp>Pearlman had denied the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/767366499585568768\u003c/p>\n\u003cp>https://twitter.com/IamCKirkpatrick/status/767167056416542722\u003c/p>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be 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=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pearlman started in the aviation industry but shifted focus in the early ’90s to music. As NPR’s Rebecca Hersher told our Newscast unit, “Pearlman created the Backstreet Boys in 1993, after funding a talent search for young musicians in the Orlando area. The quintet went on to become the best-selling boy band ever.”\u003c/p>\n\u003cp>He later managed other successful boy bands such as *NSYNC, LFO, Take 5 and O-Town. But as Becky reported, “his pop empire fell apart when he was accused of pocketing the profits of his young proteges, and Florida regulators uncovered a multimillion-dollar Ponzi scheme.”\u003c/p>\n\u003cp>Pearlman “was ultimately sued by every act he represented except one,” \u003ca href=\"http://www.billboard.com/articles/news/7480171/lou-pearlman-dead\" target=\"_blank\" rel=\"noopener\">according to Billboard\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.rollingstone.com/music/news/lou-pearlman-backstreet-boys-n-sync-svengali-dead-at-62-w435453\" target=\"_blank\" rel=\"noopener\">As Rolling Stone reported\u003c/a>, he fled the country but was taken into custody in Bali in 2007 and “indicted on charges of conspiracy, money laundering and making false statements.”\u003c/p>\n\u003cp>The elaborate scheme involved “nearly 2,000 investors, many of them elderly Florida retirees,” and took place over the course of 15 years, as \u003cem>Vanity Fair\u003c/em> reported.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The reaction to his death from former band members hints at complicated relationships. “I hope he found some peace. God bless and RIP, Lou Pearlman,” \u003ca href=\"https://twitter.com/jtimberlake/status/767366499585568768\">wrote Justin Timberlake\u003c/a>. “Mixed emotions right now, but RIP Lou Pearlman,” *NSYNC’s \u003ca href=\"https://twitter.com/IamCKirkpatrick/status/767167056416542722\">Chris Kirkpatrick tweeted\u003c/a>. Lance Bass \u003ca href=\"https://twitter.com/LanceBass/status/767136214692474880\">of *NSYNC wrote\u003c/a>, “He might not have been a stand up businessman, but I wouldn’t be doing what I love today [without] his influence.”\u003c/p>\n\u003cp>Pearlman “clung tenaciously to the notion that he can conquer the charts once more” during his time in prison, \u003ca href=\"http://www.hollywoodreporter.com/news/backstreet-boys-lou-pearlmans-prison-672724\" target=\"_blank\" rel=\"noopener\">as The Hollywood Reporter wrote in 2014\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I deeply regret what happened,” he said in the interview with THR. “And I’ll be 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=Lou+Pearlman%2C+Boy+Band+Manager+And+Ponzi+Schemer%2C+Dies+In+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince Update: Counterfeit Pain Pills Likely Came to Prince Illegally",
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"content": "\u003cp>The disclosure that some pills found at Prince’s Paisley Park home and studio were counterfeit and contained the powerful synthetic opioid fentanyl strongly suggests the pills came to the superstar musician illegally.\u003c/p>\n\u003cp>But exactly how Prince obtained the drugs is still unknown, four months after he collapsed in an elevator on April 21 and died of an accidental fentanyl overdose. Authorities have so far revealed little about their investigation, saying it’s active and moving forward.\u003c/p>\n\u003cp>But former prosecutors and defense attorneys who are familiar with drug investigations say it’s likely someone will be prosecuted, whether or not Prince knew he was consuming illegal drugs.\u003c/p>\n\u003cp>“They will not say it was just Prince’s fault and let it go at that,” said Phil Turner, a former federal prosecutor in Chicago now in private practice.\u003c/p>\n\u003cp>An official close to the investigation told The Associated Press on Sunday that some of the pills found at Paisley Park were falsely labeled as a common generic painkiller similar to Vicodin, but actually contained fentanyl. The official, who spoke on condition of anonymity because of the ongoing investigation, also said that records show Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only way to get fentanyl — a synthetic opioid that is 50 times more powerful than heroin — is through a legal prescription, or illegally from the black market, said Joe Tamburino, a Minnesota defense attorney.\u003c/p>\n\u003cp>“When you have weird stamped pills in aspirin bottles, sometimes things are what they seem, which is illegally obtained controlled substances,” Tamburino said. “How he got them? Who knows.”\u003c/p>\n\u003cp>Fentanyl has been responsible for a surge in overdose deaths in some parts of the country. When made into counterfeit pills, users don’t always know they’re taking fentanyl, increasing the risk of fatal overdose.\u003c/p>\n\u003cp>Tamburino, who is not connected to the Prince case, said investigators will likely talk to those close to Prince, and they’ll also search the computers, phones and communications of Prince and his associates, to see whether the pills were purchased online. Those searches would typically involve examining text messages, Instagram messages and other communications.\u003c/p>\n\u003cp>“This is not to say the people close to him are guilty, we have no idea of that. But that’s where it would start,” Tamburino said. He also added that investigators are probably looking at security footage from Paisley Park, if any exists, to see who might have been going to and from the studio.\u003c/p>\n\u003cp>Gal Pissetzky, a defense attorney in Chicago, said there are many ways Prince could have obtained the drugs: From a close adviser or friend, from a dealer on one of the stops he made as he was on tour, or over the Internet himself. He added that investigators might also use cellphone data to track Prince’s whereabouts.\u003c/p>\n\u003cp>If someone gave Prince the drug that killed him, that person could face a third degree murder charge, punishable in the state of Minnesota by more than 12 years in prison, Tamburino said.\u003c/p>\n\u003cp>In addition, any illegal operation that involved making and dealing fentanyl could open many people up to a host of drug charges, from trafficking to conspiracy. Because the sale resulted in Prince’s death, it would increase the chances that someone could get the maximum sentence of life in prison if convicted, Turner said.\u003c/p>\n\u003cp>Turner said he believed there was a good chance someone will eventually be charged. Improved forensics tools, including the ability to use narcotics chemical signatures to narrow down possible manufacturers, also increase the chances of arrests.\u003c/p>\n\u003cp>If China- or Mexico-based producers were involved, American authorities may have to focus on a dealer or doctor in the U.S. who supplied the drugs knowing the substance was illegal, Turner said. But U.S. agents can and do go after suspects based in countries not inclined to closely cooperate with law enforcement here, such as China.\u003c/p>\n\u003cp>The drugs could also be made by people who are not associated with cartels. Enticed by big profits, small-time drug dealers are buying pill presses online and using low-cost fentanyl powder from China to make fake pills, according to a July 2016 Drug Enforcement Administration intelligence brief.\u003c/p>\n\u003cp>Dealers unaffiliated with drug cartels can buy a kilogram of fentanyl powder for a few thousand dollars from a Chinese supplier and turn it into hundreds of thousands of counterfeit pills for millions of dollars in profit.\u003c/p>\n\u003cp>But inexperience has a cost. The small-time operators aren’t mixing fentanyl correctly and turning out pills with varying strengths, some containing three times a lethal dose. “Such wide disparity in dosing reveals that the producers were likely new to incorporating fentanyl in pill production, as the fentanyl was not thoroughly mixed with the other powders before binding and pressing into pills,” the DEA brief said.\u003c/p>\n\u003cp>Pissetzky said news of the falsely labeled drugs tells him that the pills did not come from a doctor.\u003c/p>\n\u003cp>“There’s a big, big black market for counterfeit drugs. When people buy these, they don’t personally know, many times, that they are not the real thing, and that’s when you get overdoses,” Pissetzky said.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The disclosure that some pills found at Prince’s Paisley Park home and studio were counterfeit and contained the powerful synthetic opioid fentanyl strongly suggests the pills came to the superstar musician illegally.\u003c/p>\n\u003cp>But exactly how Prince obtained the drugs is still unknown, four months after he collapsed in an elevator on April 21 and died of an accidental fentanyl overdose. Authorities have so far revealed little about their investigation, saying it’s active and moving forward.\u003c/p>\n\u003cp>But former prosecutors and defense attorneys who are familiar with drug investigations say it’s likely someone will be prosecuted, whether or not Prince knew he was consuming illegal drugs.\u003c/p>\n\u003cp>“They will not say it was just Prince’s fault and let it go at that,” said Phil Turner, a former federal prosecutor in Chicago now in private practice.\u003c/p>\n\u003cp>An official close to the investigation told The Associated Press on Sunday that some of the pills found at Paisley Park were falsely labeled as a common generic painkiller similar to Vicodin, but actually contained fentanyl. The official, who spoke on condition of anonymity because of the ongoing investigation, also said that records show Prince did not have a prescription for any controlled substances in Minnesota in the last 12 months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only way to get fentanyl — a synthetic opioid that is 50 times more powerful than heroin — is through a legal prescription, or illegally from the black market, said Joe Tamburino, a Minnesota defense attorney.\u003c/p>\n\u003cp>“When you have weird stamped pills in aspirin bottles, sometimes things are what they seem, which is illegally obtained controlled substances,” Tamburino said. “How he got them? Who knows.”\u003c/p>\n\u003cp>Fentanyl has been responsible for a surge in overdose deaths in some parts of the country. When made into counterfeit pills, users don’t always know they’re taking fentanyl, increasing the risk of fatal overdose.\u003c/p>\n\u003cp>Tamburino, who is not connected to the Prince case, said investigators will likely talk to those close to Prince, and they’ll also search the computers, phones and communications of Prince and his associates, to see whether the pills were purchased online. Those searches would typically involve examining text messages, Instagram messages and other communications.\u003c/p>\n\u003cp>“This is not to say the people close to him are guilty, we have no idea of that. But that’s where it would start,” Tamburino said. He also added that investigators are probably looking at security footage from Paisley Park, if any exists, to see who might have been going to and from the studio.\u003c/p>\n\u003cp>Gal Pissetzky, a defense attorney in Chicago, said there are many ways Prince could have obtained the drugs: From a close adviser or friend, from a dealer on one of the stops he made as he was on tour, or over the Internet himself. He added that investigators might also use cellphone data to track Prince’s whereabouts.\u003c/p>\n\u003cp>If someone gave Prince the drug that killed him, that person could face a third degree murder charge, punishable in the state of Minnesota by more than 12 years in prison, Tamburino said.\u003c/p>\n\u003cp>In addition, any illegal operation that involved making and dealing fentanyl could open many people up to a host of drug charges, from trafficking to conspiracy. Because the sale resulted in Prince’s death, it would increase the chances that someone could get the maximum sentence of life in prison if convicted, Turner said.\u003c/p>\n\u003cp>Turner said he believed there was a good chance someone will eventually be charged. Improved forensics tools, including the ability to use narcotics chemical signatures to narrow down possible manufacturers, also increase the chances of arrests.\u003c/p>\n\u003cp>If China- or Mexico-based producers were involved, American authorities may have to focus on a dealer or doctor in the U.S. who supplied the drugs knowing the substance was illegal, Turner said. But U.S. agents can and do go after suspects based in countries not inclined to closely cooperate with law enforcement here, such as China.\u003c/p>\n\u003cp>The drugs could also be made by people who are not associated with cartels. Enticed by big profits, small-time drug dealers are buying pill presses online and using low-cost fentanyl powder from China to make fake pills, according to a July 2016 Drug Enforcement Administration intelligence brief.\u003c/p>\n\u003cp>Dealers unaffiliated with drug cartels can buy a kilogram of fentanyl powder for a few thousand dollars from a Chinese supplier and turn it into hundreds of thousands of counterfeit pills for millions of dollars in profit.\u003c/p>\n\u003cp>But inexperience has a cost. The small-time operators aren’t mixing fentanyl correctly and turning out pills with varying strengths, some containing three times a lethal dose. “Such wide disparity in dosing reveals that the producers were likely new to incorporating fentanyl in pill production, as the fentanyl was not thoroughly mixed with the other powders before binding and pressing into pills,” the DEA brief said.\u003c/p>\n\u003cp>Pissetzky said news of the falsely labeled drugs tells him that the pills did not come from a doctor.\u003c/p>\n\u003cp>“There’s a big, big black market for counterfeit drugs. When people buy these, they don’t personally know, many times, that they are not the real thing, and that’s when you get overdoses,” Pissetzky said.\u003c/p>\n\u003cp>___\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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"title": "Let's Talk About Barbra Streisand for a Few Minutes, Shall We?",
"headTitle": "Let’s Talk About Barbra Streisand for a Few Minutes, Shall We? | KQED",
"content": "\u003cp>In 1993, I worked at a terrible chain record store in the mall called Musicland, where we were only allowed to play in-store CDs pre-approved by corporate management. They filled a small box, and consisted almost entirely of bad post-New Jack Swing R&B (Shai, All-4-One) or horrendous copycat grunge acts (Dog’s Eye View, Dag). When a new Barbra Streisand album called \u003cem>Back to Broadway\u003c/em> entered the box of approved CDs, I didn’t know much about her, except for sitting through \u003cem>Yentl\u003c/em> at a drama club party in junior year. But it had to be better, I figured, than Mother Love Bone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-600x600.jpg\" alt=\"Streisand.BacktoBroadway\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-11952465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cem>Back to Broadway\u003c/em> sounded schmaltzy to me at first, but then I played it over and over at Musicland, feeling defiant and rebellious in the everyone-must-love-grunge era, and I really, truly grew to love it. It was all about Streisand’s dynamics: she’d reach these soaring heights in full-throated crecendoes that would peak with a full \u003cem>fortissimo\u003c/em> orchestra, and then contract to a whisper at the end of the line. “\u003ca href=\"https://www.youtube.com/watch?v=h2O3sMfyVNc\" target=\"_blank\" rel=\"noopener\">Move On\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=Ny7sXcJM0MQ\" target=\"_blank\" rel=\"noopener\">As If We Never Said Goodbye\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=1Qx00214qKE\" target=\"_blank\" rel=\"noopener\">With One Look\u003c/a>” — in all their drama and mournful bombast, these became defining songs of my late teens.\u003c/p>\n\u003cp>But teenagers are fickle. Until recently, I hadn’t really thought a lot about Barbra Streisand since. \u003c/p>\n\u003cp>That changed a few weeks ago, when Streisand’s people asked if I’d want to review her concert in San Jose. As I was emphatically told by my editor, when Streisand’s people ask, you pretty much say yes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Here is my review of the concert, if I were stuck on a short elevator ride with someone who asked about the show: Barbra Streisand was good, she talked a lot, her voice was a little grainy at times but come on, she’s 74, and she didn’t do “As If We Never Said Goodbye” but she did do “People,” of course, and “You Don’t Bring Me Flowers,” and — oh! This is your floor, a-ha, well, see you at the Christmas karaoke party.\u003c/p>\n\u003cp>But does anyone in an elevator \u003cem>really\u003c/em> want to hear about Barbra Streisand? Forget the older crowd who’ll always buy her albums, like her \u003ca href=\"http://www.npr.org/2016/08/18/490258191/first-listen-barbra-streisand-encore\" target=\"_blank\" rel=\"noopener\">new one out at the end of this month\u003c/a>. Based on a loose poll of friends, when my generation — the internet generation — thinks of Streisand, they think of how she \u003ca href=\"https://en.wikipedia.org/wiki/Streisand_effect\" target=\"_blank\" rel=\"noopener\">tried to stop a Google Earth-esque project from uploading photos of her house\u003c/a>, how she charges \u003ca href=\"http://www.huffingtonpost.com/2012/09/18/barbra-streisand-tour-ticket-prices_n_1894824.html\" target=\"_blank\" rel=\"noopener\">exorbitantly high prices\u003c/a> for her tickets, and that the \u003cem>South Park\u003c/em> guys \u003ca href=\"https://www.youtube.com/watch?v=lA2DeozLHC4\" target=\"_blank\" rel=\"noopener\">really hate her\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11952655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-800x450.jpg\" alt=\"Barbra Streisand performs onstage during the Barbra - The Music... The Mem'ries... The Magic! Tour at SAP Center on August 4, 2016 in San Jose, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-11952655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand performs onstage during the Barbra – The Music… The Mem’ries… The Magic! Tour at SAP Center on August 4, 2016 in San Jose, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Streisand is a woman of a certain age, and the world is vicious to women of a certain age, but that’s not it. Mostly, what I’ve found adds up to the basic idea that Barbra Streisand is really, really uncool. Streisand isn’t a \u003ca href=\"https://www.buzzfeed.com/lyapalater/dolly-parton-is-feeling-saxy?utm_term=.okLRGD1Nj#.njgvY3oO4\" target=\"_blank\" rel=\"noopener\">star of memes\u003c/a>, like Dolly Parton, 70. She has no \u003ca href=\"https://www.buzzfeed.com/lyapalater/tweets-by-cher-that-you-need-to-see-before-you-die\" target=\"_blank\" rel=\"noopener\">royal position in Weird Twitter\u003c/a>, like Cher, also 70. She has never been the subject of an \u003ca href=\"http://www.npr.org/sections/monkeysee/2010/02/this_time_facebook_is_right_be.html\" target=\"_blank\" rel=\"noopener\">online petition of support\u003c/a>, like Betty White, age 94. \u003c/p>\n\u003cp>But after finally seeing Streisand in concert, I don’t understand. Why isn’t she elevated in the same way as other seasoned, talented, outspoken, confident, slightly eccentric but on-the-right-side-of-history stars?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s more than the numbers: 145 million albums sold, 10 Grammy Awards, five Emmys, nine Golden Globes, a \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2016/06/01/barbra-streisands-net-worth-370-million-in-2016/\" target=\"_blank\" rel=\"noopener\">net worth of $370 million\u003c/a>. It’s the utterly bazonkers cultural impact of \u003cem>BARBRA STREISAND\u003c/em>, siren daughter of Zeus incarnate, who receives a thundering welcome extended by almost exclusively boomer-and-older crowd applauding her mere presence, regal evening gown and all. The woman enters a stage with \u003cem>context\u003c/em>.\u003c/p>\n\u003cp>And yet Streisand’s two hours on stage in San Jose feel less like a concert and more like a living-room visit with an old friend, chatty and conversational while drawing from her deep well of emotional expression each time she sings. From opener “The Way We Were” to the encore of “I Didn’t Know What Time it Was,” fans get two Streisands for the price of one; the one-of-a-kind interpreter of song and the staunch Democrat who takes repeated swipes at Donald Trump.\u003c/p>\n\u003cp>“People say I’m a control freak,” Streisand quips early in the set, “but actually, Donald Trump is an \u003cem>out-of-control\u003c/em> freak!”\u003c/p>\n\u003cp>Or, in describing her Vegas-style magician Lior Suchard, who filled time earlier with a mind-reading act: “He can read anyone’s mind except for Donald Trump’s… because he doesn’t have one.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BarbraStreisand-465x600.jpg\" alt=\"BarbraStreisand\" width=\"465\" height=\"600\" class=\"aligncenter size-medium wp-image-11952463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-914x1180.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-960x1239.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand.jpg 983w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/p>\n\u003cp>Streisand keeps eviscerating the presidential candidate, wealthy older crowd be damned. She shouts out Hillary, Daisy Ridley, and the gays. She talks about the sexist challenges in Hollywood related to casting, to wardrobe, and to women sitting in the directors’ chair — challenges she overcame only by refusing to take no for an answer.\u003c/p>\n\u003cp>And then there are her album covers from her six-decade career, displayed on the screen behind her. She explains how she had to fight for certain images — like \u003cem>People\u003c/em>’s \u003ca href=\"https://en.wikipedia.org/wiki/People_(Barbra_Streisand_album)\" target=\"_blank\" rel=\"noopener\">back-turned pensive beach shot\u003c/a>, when Columbia Records wanted a bright, cheery portrait. (Streisand prevailed, and \u003cem>People\u003c/em> won a Grammy Award for Best Album Cover.) In a side-by-side comparison, she talks about the original photo taken for \u003cem>The Way We Were\u003c/em> versus the doctored result that adorned the album, which had clearly edited her famous nose. (“They removed my bump!” Streisand says. “I made a career from that bump, and they took it out!”)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/streisand.theway-600x600.jpg\" alt=\"streisand.theway\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-11952467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These are all things you’d think would endear Streisand to a younger generation. The website Jezebel has become famous for these \u003ca href=\"http://jezebel.com/5426296/photoshop-of-horrors-hall-of-shame-2000-2009/\" target=\"_blank\" rel=\"noopener\">very same side-by-side comparisons\u003c/a> of magazine covers versus original photos in a series called \u003ca href=\"http://jezebel.com/tag/photoshop-of-horrors\" target=\"_blank\" rel=\"noopener\">Photoshop of Horrors\u003c/a>, celebrated on the internet for peeling back a veil of misrepresentation. You know what else is on Jezebel? Posts making fun of Barbra Streisand for \u003ca href=\"http://jezebel.com/333102/barbra-streisand-goes-to-neimans-gets-her-crazy-face-on\" target=\"_blank\" rel=\"noopener\">having a “crazy face,”\u003c/a> for \u003ca href=\"http://jezebel.com/flight-attendant-gets-stitches-after-bite-from-barbra-s-1701471513\" target=\"_blank\" rel=\"noopener\">owning a fluffy dog\u003c/a> that once bit a flight attendant, and for having \u003ca href=\"http://jezebel.com/reminder-barbra-streisand-has-a-mall-in-her-basement-1738673870\" target=\"_blank\" rel=\"noopener\">something resembling a shopping mall\u003c/a> in her basement.\u003c/p>\n\u003cp>I don’t wanna be morbid, but \u003ca href=\"http://www.newsweek.com/famous-people-deaths-david-bowie-alan-rickman-422668\" target=\"_blank\" rel=\"noopener\">this is 2016\u003c/a>, after all. When Barbra Streisand dies, something tells me Jezebel and other sites will fall over themselves celebrating her accomplishments. Why don’t we just do that now?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And I get it. Streisand is a diva. With her diva-ness comes \u003ca href=\"https://www.instagram.com/p/BJTXG5cAny1/\" target=\"_blank\" rel=\"noopener\">all manner of diva-esque behavior\u003c/a>. But that hasn’t stopped us from celebrating the \u003cem>very same behavior\u003c/em> in Mariah Carey, Christina Aguilera or Ariana Grande. “Savage,” “ferocious,” “boss bitch” — no one uses these terms of endearment toward Streisand when she advocates for herself, which, don’t forget, she’s had to do over and over in a cutthroat male-dominated industry for over 50 years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/streisand.wayhair.jpg\" alt=\"streisand.wayhair\" width=\"450\" height=\"352\" class=\"aligncenter size-full wp-image-11952468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.wayhair.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.wayhair-400x313.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>I mean, here’s a singer who was marketed to 1960s parents as a wholesome and appealing alternative to the Beatles; a nice girl from Brooklyn who loved the Great American Songbook and Broadway. But Streisand fought against that spin; she kept opening her mouth to agitate in the way her character Katie Morosky from \u003cem>The Way We Were\u003c/em> agitates. In the film, Katie’s outspokenness causes her to lose her husband, and \u003cem>it’s saaaaaaaaaaad, because women should be allowed to have a strong point of view\u003c/em>! But in real life, Streisand’s outspokenness isn’t an asset; it’s just another reason for people to demonize her.\u003c/p>\n\u003cp>So. How can Barbra Streisand turn this around? What can Barbra Streisand do to be cool?\u003c/p>\n\u003cp>I polled my coworkers to find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>One coworker says:\u003c/p>\n\u003cp>\u003cem>That may be impossible for an uptight control freak with a \u003ca href=\"http://www.harpersbazaar.com/fashion/photography/g1321/barbra-streisand-house-photos/\" target=\"_blank\" rel=\"noopener\">shopping mall in her basement\u003c/a> and a \u003ca href=\"http://www.penguin.com/static/pages/features/streisand/\" target=\"_blank\" rel=\"noopener\">coffee table book\u003c/a> about her style.\u003c/em>\u003c/p>\n\u003cp>Ha. See? People already have preconceived notions about Barbra Streisand. Another:\u003c/p>\n\u003cp>\u003cem>Having never followed Barbara Streisand, I can’t say if she’s doing these things already, but my favorite kind of stately broad is secure in her fame and fortune and just says whatever the goddamn hell she wants, screw controversy or politics or acceptable gender mores.\u003c/em> \u003c/p>\n\u003cp>Aaggghhh! She is doing that very thing, and has for years! She is the living embodiment of it! All the more reason she needs to up her visibility game.\u003c/p>\n\u003cp>Another says:\u003c/p>\n\u003cp>\u003cem>Her voice is amazing, her body of work astounding, but… she seems to take herself a little too seriously. She is the archetypal Hollywood liberal/superstar, the earnestness of which, to me, screams out for self-parody, which would be my advice to Babs. Do some wacky make-fun-of-myself bits with Fallon, or comedy shorts for YouTube. I know she performs with Jamie Foxx; they could work up some good satirical stuff. She’s actually got excellent comedic skills. Put that to use being a little less precious.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-491x600.jpg\" alt=\"Simply-Streisand1\" width=\"491\" height=\"600\" class=\"aligncenter size-medium wp-image-11956088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-491x600.jpg 491w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-400x489.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1.jpg 743w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003c/p>\n\u003cp>I think we’re on the right track. Another echoes the idea:\u003c/p>\n\u003cp>\u003cem>She should do a series of BuzzFeed-style videos of her doing all the fun, weird, internet-fueled video challenges: the cinnamon challenge, the ghost pepper challenge, the blindfolded makeup challenge; she should eat random foods from a far-off country. Kids today aren’t familiar with Streisand and her humor — they most likely haven’t seen her in ‘What’s Up Doc’ and on ‘Saturday Night Live.’ YouTube challenges are our modern-day slapstick — she should show her chops!\u003c/em>\u003c/p>\n\u003cp>Putting aside my disbelief that Streisand would ever torture herself eating a hot pepper for attention, the idea of being wacky and “a little less precious” is her best bet. Hell, she’s already doing it. In San Jose, between soaring songs like “Evergreen” and “I Didn’t Know What Time it Was,” she threw a frisbee into the audience, accidentally knocked the microphone off its stand, momentarily lost her shoe, declared fame to be “fan-fucking-tastic” and joked about Pokémon Go. She just didn’t do it online.\u003c/p>\n\u003cp>Until that day, I suppose, Barbra Streisand will only be cool to a select few.\u003c/p>\n\u003cp>Like the fifth coworker says:\u003c/p>\n\u003cp>\u003cem>My poll response is: The lady doesn’t need to change a damn thing. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Barbra Streisand’s new album is \u003ca href=\"http://www.npr.org/2016/08/18/490258191/first-listen-barbra-streisand-encore\" target=\"_blank\" rel=\"noopener\">streaming now over at NPR\u003c/a>. Her tour, ‘\u003ca href=\"http://barbrastreisand.com/barbra-streisand-on-tour/\" target=\"_blank\" rel=\"noopener\">The Music… The Mem’ries… The Magic!\u003c/a>,’ concludes this week in Philadelphia and Toronto.\u003c/em>\u003c/p>\n\n",
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"excerpt": "She's outspoken, talented, confident, slightly eccentric, on the right side of history -- so why isn't Barbra Streisand embraced by the internet generation?",
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"description": "She's outspoken, talented, confident, slightly eccentric, on the right side of history -- so why isn't Barbra Streisand embraced by the internet generation?",
"title": "Let's Talk About Barbra Streisand for a Few Minutes, Shall We? | KQED",
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"headline": "Let's Talk About Barbra Streisand for a Few Minutes, Shall We?",
"datePublished": "2016-08-20T06:00:42-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1993, I worked at a terrible chain record store in the mall called Musicland, where we were only allowed to play in-store CDs pre-approved by corporate management. They filled a small box, and consisted almost entirely of bad post-New Jack Swing R&B (Shai, All-4-One) or horrendous copycat grunge acts (Dog’s Eye View, Dag). When a new Barbra Streisand album called \u003cem>Back to Broadway\u003c/em> entered the box of approved CDs, I didn’t know much about her, except for sitting through \u003cem>Yentl\u003c/em> at a drama club party in junior year. But it had to be better, I figured, than Mother Love Bone.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-600x600.jpg\" alt=\"Streisand.BacktoBroadway\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-11952465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.BacktoBroadway.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cem>Back to Broadway\u003c/em> sounded schmaltzy to me at first, but then I played it over and over at Musicland, feeling defiant and rebellious in the everyone-must-love-grunge era, and I really, truly grew to love it. It was all about Streisand’s dynamics: she’d reach these soaring heights in full-throated crecendoes that would peak with a full \u003cem>fortissimo\u003c/em> orchestra, and then contract to a whisper at the end of the line. “\u003ca href=\"https://www.youtube.com/watch?v=h2O3sMfyVNc\" target=\"_blank\" rel=\"noopener\">Move On\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=Ny7sXcJM0MQ\" target=\"_blank\" rel=\"noopener\">As If We Never Said Goodbye\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=1Qx00214qKE\" target=\"_blank\" rel=\"noopener\">With One Look\u003c/a>” — in all their drama and mournful bombast, these became defining songs of my late teens.\u003c/p>\n\u003cp>But teenagers are fickle. Until recently, I hadn’t really thought a lot about Barbra Streisand since. \u003c/p>\n\u003cp>That changed a few weeks ago, when Streisand’s people asked if I’d want to review her concert in San Jose. As I was emphatically told by my editor, when Streisand’s people ask, you pretty much say yes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Here is my review of the concert, if I were stuck on a short elevator ride with someone who asked about the show: Barbra Streisand was good, she talked a lot, her voice was a little grainy at times but come on, she’s 74, and she didn’t do “As If We Never Said Goodbye” but she did do “People,” of course, and “You Don’t Bring Me Flowers,” and — oh! This is your floor, a-ha, well, see you at the Christmas karaoke party.\u003c/p>\n\u003cp>But does anyone in an elevator \u003cem>really\u003c/em> want to hear about Barbra Streisand? Forget the older crowd who’ll always buy her albums, like her \u003ca href=\"http://www.npr.org/2016/08/18/490258191/first-listen-barbra-streisand-encore\" target=\"_blank\" rel=\"noopener\">new one out at the end of this month\u003c/a>. Based on a loose poll of friends, when my generation — the internet generation — thinks of Streisand, they think of how she \u003ca href=\"https://en.wikipedia.org/wiki/Streisand_effect\" target=\"_blank\" rel=\"noopener\">tried to stop a Google Earth-esque project from uploading photos of her house\u003c/a>, how she charges \u003ca href=\"http://www.huffingtonpost.com/2012/09/18/barbra-streisand-tour-ticket-prices_n_1894824.html\" target=\"_blank\" rel=\"noopener\">exorbitantly high prices\u003c/a> for her tickets, and that the \u003cem>South Park\u003c/em> guys \u003ca href=\"https://www.youtube.com/watch?v=lA2DeozLHC4\" target=\"_blank\" rel=\"noopener\">really hate her\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11952655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-800x450.jpg\" alt=\"Barbra Streisand performs onstage during the Barbra - The Music... The Mem'ries... The Magic! Tour at SAP Center on August 4, 2016 in San Jose, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-11952655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.SanJose2-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand performs onstage during the Barbra – The Music… The Mem’ries… The Magic! Tour at SAP Center on August 4, 2016 in San Jose, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Streisand is a woman of a certain age, and the world is vicious to women of a certain age, but that’s not it. Mostly, what I’ve found adds up to the basic idea that Barbra Streisand is really, really uncool. Streisand isn’t a \u003ca href=\"https://www.buzzfeed.com/lyapalater/dolly-parton-is-feeling-saxy?utm_term=.okLRGD1Nj#.njgvY3oO4\" target=\"_blank\" rel=\"noopener\">star of memes\u003c/a>, like Dolly Parton, 70. She has no \u003ca href=\"https://www.buzzfeed.com/lyapalater/tweets-by-cher-that-you-need-to-see-before-you-die\" target=\"_blank\" rel=\"noopener\">royal position in Weird Twitter\u003c/a>, like Cher, also 70. She has never been the subject of an \u003ca href=\"http://www.npr.org/sections/monkeysee/2010/02/this_time_facebook_is_right_be.html\" target=\"_blank\" rel=\"noopener\">online petition of support\u003c/a>, like Betty White, age 94. \u003c/p>\n\u003cp>But after finally seeing Streisand in concert, I don’t understand. Why isn’t she elevated in the same way as other seasoned, talented, outspoken, confident, slightly eccentric but on-the-right-side-of-history stars?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s more than the numbers: 145 million albums sold, 10 Grammy Awards, five Emmys, nine Golden Globes, a \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2016/06/01/barbra-streisands-net-worth-370-million-in-2016/\" target=\"_blank\" rel=\"noopener\">net worth of $370 million\u003c/a>. It’s the utterly bazonkers cultural impact of \u003cem>BARBRA STREISAND\u003c/em>, siren daughter of Zeus incarnate, who receives a thundering welcome extended by almost exclusively boomer-and-older crowd applauding her mere presence, regal evening gown and all. The woman enters a stage with \u003cem>context\u003c/em>.\u003c/p>\n\u003cp>And yet Streisand’s two hours on stage in San Jose feel less like a concert and more like a living-room visit with an old friend, chatty and conversational while drawing from her deep well of emotional expression each time she sings. From opener “The Way We Were” to the encore of “I Didn’t Know What Time it Was,” fans get two Streisands for the price of one; the one-of-a-kind interpreter of song and the staunch Democrat who takes repeated swipes at Donald Trump.\u003c/p>\n\u003cp>“People say I’m a control freak,” Streisand quips early in the set, “but actually, Donald Trump is an \u003cem>out-of-control\u003c/em> freak!”\u003c/p>\n\u003cp>Or, in describing her Vegas-style magician Lior Suchard, who filled time earlier with a mind-reading act: “He can read anyone’s mind except for Donald Trump’s… because he doesn’t have one.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/BarbraStreisand-465x600.jpg\" alt=\"BarbraStreisand\" width=\"465\" height=\"600\" class=\"aligncenter size-medium wp-image-11952463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-465x600.jpg 465w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-400x516.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-914x1180.jpg 914w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand-960x1239.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/BarbraStreisand.jpg 983w\" sizes=\"(max-width: 465px) 100vw, 465px\">\u003c/p>\n\u003cp>Streisand keeps eviscerating the presidential candidate, wealthy older crowd be damned. She shouts out Hillary, Daisy Ridley, and the gays. She talks about the sexist challenges in Hollywood related to casting, to wardrobe, and to women sitting in the directors’ chair — challenges she overcame only by refusing to take no for an answer.\u003c/p>\n\u003cp>And then there are her album covers from her six-decade career, displayed on the screen behind her. She explains how she had to fight for certain images — like \u003cem>People\u003c/em>’s \u003ca href=\"https://en.wikipedia.org/wiki/People_(Barbra_Streisand_album)\" target=\"_blank\" rel=\"noopener\">back-turned pensive beach shot\u003c/a>, when Columbia Records wanted a bright, cheery portrait. (Streisand prevailed, and \u003cem>People\u003c/em> won a Grammy Award for Best Album Cover.) In a side-by-side comparison, she talks about the original photo taken for \u003cem>The Way We Were\u003c/em> versus the doctored result that adorned the album, which had clearly edited her famous nose. (“They removed my bump!” Streisand says. “I made a career from that bump, and they took it out!”)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/streisand.theway-600x600.jpg\" alt=\"streisand.theway\" width=\"600\" height=\"600\" class=\"aligncenter size-medium wp-image-11952467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.theway.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>These are all things you’d think would endear Streisand to a younger generation. The website Jezebel has become famous for these \u003ca href=\"http://jezebel.com/5426296/photoshop-of-horrors-hall-of-shame-2000-2009/\" target=\"_blank\" rel=\"noopener\">very same side-by-side comparisons\u003c/a> of magazine covers versus original photos in a series called \u003ca href=\"http://jezebel.com/tag/photoshop-of-horrors\" target=\"_blank\" rel=\"noopener\">Photoshop of Horrors\u003c/a>, celebrated on the internet for peeling back a veil of misrepresentation. You know what else is on Jezebel? Posts making fun of Barbra Streisand for \u003ca href=\"http://jezebel.com/333102/barbra-streisand-goes-to-neimans-gets-her-crazy-face-on\" target=\"_blank\" rel=\"noopener\">having a “crazy face,”\u003c/a> for \u003ca href=\"http://jezebel.com/flight-attendant-gets-stitches-after-bite-from-barbra-s-1701471513\" target=\"_blank\" rel=\"noopener\">owning a fluffy dog\u003c/a> that once bit a flight attendant, and for having \u003ca href=\"http://jezebel.com/reminder-barbra-streisand-has-a-mall-in-her-basement-1738673870\" target=\"_blank\" rel=\"noopener\">something resembling a shopping mall\u003c/a> in her basement.\u003c/p>\n\u003cp>I don’t wanna be morbid, but \u003ca href=\"http://www.newsweek.com/famous-people-deaths-david-bowie-alan-rickman-422668\" target=\"_blank\" rel=\"noopener\">this is 2016\u003c/a>, after all. When Barbra Streisand dies, something tells me Jezebel and other sites will fall over themselves celebrating her accomplishments. Why don’t we just do that now?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And I get it. Streisand is a diva. With her diva-ness comes \u003ca href=\"https://www.instagram.com/p/BJTXG5cAny1/\" target=\"_blank\" rel=\"noopener\">all manner of diva-esque behavior\u003c/a>. But that hasn’t stopped us from celebrating the \u003cem>very same behavior\u003c/em> in Mariah Carey, Christina Aguilera or Ariana Grande. “Savage,” “ferocious,” “boss bitch” — no one uses these terms of endearment toward Streisand when she advocates for herself, which, don’t forget, she’s had to do over and over in a cutthroat male-dominated industry for over 50 years.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/streisand.wayhair.jpg\" alt=\"streisand.wayhair\" width=\"450\" height=\"352\" class=\"aligncenter size-full wp-image-11952468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.wayhair.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/streisand.wayhair-400x313.jpg 400w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/p>\n\u003cp>I mean, here’s a singer who was marketed to 1960s parents as a wholesome and appealing alternative to the Beatles; a nice girl from Brooklyn who loved the Great American Songbook and Broadway. But Streisand fought against that spin; she kept opening her mouth to agitate in the way her character Katie Morosky from \u003cem>The Way We Were\u003c/em> agitates. In the film, Katie’s outspokenness causes her to lose her husband, and \u003cem>it’s saaaaaaaaaaad, because women should be allowed to have a strong point of view\u003c/em>! But in real life, Streisand’s outspokenness isn’t an asset; it’s just another reason for people to demonize her.\u003c/p>\n\u003cp>So. How can Barbra Streisand turn this around? What can Barbra Streisand do to be cool?\u003c/p>\n\u003cp>I polled my coworkers to find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>One coworker says:\u003c/p>\n\u003cp>\u003cem>That may be impossible for an uptight control freak with a \u003ca href=\"http://www.harpersbazaar.com/fashion/photography/g1321/barbra-streisand-house-photos/\" target=\"_blank\" rel=\"noopener\">shopping mall in her basement\u003c/a> and a \u003ca href=\"http://www.penguin.com/static/pages/features/streisand/\" target=\"_blank\" rel=\"noopener\">coffee table book\u003c/a> about her style.\u003c/em>\u003c/p>\n\u003cp>Ha. See? People already have preconceived notions about Barbra Streisand. Another:\u003c/p>\n\u003cp>\u003cem>Having never followed Barbara Streisand, I can’t say if she’s doing these things already, but my favorite kind of stately broad is secure in her fame and fortune and just says whatever the goddamn hell she wants, screw controversy or politics or acceptable gender mores.\u003c/em> \u003c/p>\n\u003cp>Aaggghhh! She is doing that very thing, and has for years! She is the living embodiment of it! All the more reason she needs to up her visibility game.\u003c/p>\n\u003cp>Another says:\u003c/p>\n\u003cp>\u003cem>Her voice is amazing, her body of work astounding, but… she seems to take herself a little too seriously. She is the archetypal Hollywood liberal/superstar, the earnestness of which, to me, screams out for self-parody, which would be my advice to Babs. Do some wacky make-fun-of-myself bits with Fallon, or comedy shorts for YouTube. I know she performs with Jamie Foxx; they could work up some good satirical stuff. She’s actually got excellent comedic skills. Put that to use being a little less precious.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-491x600.jpg\" alt=\"Simply-Streisand1\" width=\"491\" height=\"600\" class=\"aligncenter size-medium wp-image-11956088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-491x600.jpg 491w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1-400x489.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Simply-Streisand1.jpg 743w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003c/p>\n\u003cp>I think we’re on the right track. Another echoes the idea:\u003c/p>\n\u003cp>\u003cem>She should do a series of BuzzFeed-style videos of her doing all the fun, weird, internet-fueled video challenges: the cinnamon challenge, the ghost pepper challenge, the blindfolded makeup challenge; she should eat random foods from a far-off country. Kids today aren’t familiar with Streisand and her humor — they most likely haven’t seen her in ‘What’s Up Doc’ and on ‘Saturday Night Live.’ YouTube challenges are our modern-day slapstick — she should show her chops!\u003c/em>\u003c/p>\n\u003cp>Putting aside my disbelief that Streisand would ever torture herself eating a hot pepper for attention, the idea of being wacky and “a little less precious” is her best bet. Hell, she’s already doing it. In San Jose, between soaring songs like “Evergreen” and “I Didn’t Know What Time it Was,” she threw a frisbee into the audience, accidentally knocked the microphone off its stand, momentarily lost her shoe, declared fame to be “fan-fucking-tastic” and joked about Pokémon Go. She just didn’t do it online.\u003c/p>\n\u003cp>Until that day, I suppose, Barbra Streisand will only be cool to a select few.\u003c/p>\n\u003cp>Like the fifth coworker says:\u003c/p>\n\u003cp>\u003cem>My poll response is: The lady doesn’t need to change a damn thing. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Streisand.Break_-800x127.jpg\" alt=\"Streisand.Break\" width=\"800\" height=\"127\" class=\"aligncenter size-medium wp-image-11952637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-400x64.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Streisand.Break_-768x122.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Barbra Streisand’s new album is \u003ca href=\"http://www.npr.org/2016/08/18/490258191/first-listen-barbra-streisand-encore\" target=\"_blank\" rel=\"noopener\">streaming now over at NPR\u003c/a>. Her tour, ‘\u003ca href=\"http://barbrastreisand.com/barbra-streisand-on-tour/\" target=\"_blank\" rel=\"noopener\">The Music… The Mem’ries… The Magic!\u003c/a>,’ concludes this week in Philadelphia and Toronto.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2016 Lineup: Too Short, Juvenile, Invisibl Skratch Piklz, Just Blaze, Many More",
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"content": "\u003cp>Cutting it a little close, organizers of \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> have finally announced this year’s performers for the huge Labor Day block party that takes over multiple stages in Oakland on Monday, Sept. 5 — and for the event’s fifth year, it’s looking like the best lineup yet.\u003c/p>\n\u003cp>A combination of Bay Area veterans (\u003cstrong>Too Short, Paris, Murs, the Grouch\u003c/strong>), worthy youngbloods (\u003cstrong>Caleborate, Rexx Life Raj, Rocky Rivera, Nef the Pharaoh\u003c/strong>) out-of-town favorites (\u003cstrong>Dilated Peoples, the Beat Junkies, Blu & Exile, Mr. Lif\u003c/strong>) and Hieroglyphics themselves, the schedule also includes some welcome surprises.\u003c/p>\n\u003cp>\u003cstrong>Juvenile\u003c/strong>: When was the last time you listened to “\u003ca href=\"https://www.youtube.com/watch?v=T9CabmOu-Zk\" target=\"_blank\" rel=\"noopener\">Back That Azz Up\u003c/a>“? Out of all the non-Bay Area additions this year, Juvenile’s bound to attract one of the biggest crowds with pure Louisiana heat.\u003c/p>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>: The Daly City DJ crew defined the term “turntable band,” and after splitting up in 2000 has been the subject of documentaries and books. \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-qbert-turntablist-low-end-theory-fest-20160720-snap-story.html\" target=\"_blank\" rel=\"noopener\">Reunited\u003c/a> and working on a new album (minus founding member Mix Master Mike), the trio of DJ Qbert, D-Styles and Shortkut should see a joyful homecoming.\u003c/p>\n\u003cfigure id=\"attachment_11956434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Invisil-800x503.jpg\" alt=\"Invisibl Skratch Piklz.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-11956434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J-Cutt\u003c/strong>: Oakland history, right here. J-Cutt was the producer for the APG Crew, who put out two studio albums in the late ’80s from their headquarters on Apgar Street in Oakland — only to be inexplicably overlooked in most East Bay rap histories. Eric Arnold \u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/apg\" target=\"_blank\" rel=\"noopener\">remembers them here\u003c/a>, and it’s nice to see them represented at Heiro Day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Just Blaze\u003c/strong>: “Exhibit C” by Jay Electronica, “Freedom” by Beyoncé, “Compton” by Kendrick Lamar, “Touch the Sky” by Kanye West, “Girls, Girls, Girls” by Jay-Z — the guy’s produced hit after hit. \u003c/p>\n\u003cp>Tickets for Hiero Day (at $19.93 a pop) are on sale now \u003ca href=\"http://www.hieroday.com/#!tickets/cq53\" target=\"_blank\" rel=\"noopener\">right over here\u003c/a>. More details \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003cstrong>Full lineup below.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large.jpg\" alt=\"CqPLG3SUEAI8enI.jpg-large\" width=\"424\" height=\"656\" class=\"aligncenter size-full wp-image-11956432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large-388x600.jpg 388w\" sizes=\"(max-width: 424px) 100vw, 424px\"> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cutting it a little close, organizers of \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> have finally announced this year’s performers for the huge Labor Day block party that takes over multiple stages in Oakland on Monday, Sept. 5 — and for the event’s fifth year, it’s looking like the best lineup yet.\u003c/p>\n\u003cp>A combination of Bay Area veterans (\u003cstrong>Too Short, Paris, Murs, the Grouch\u003c/strong>), worthy youngbloods (\u003cstrong>Caleborate, Rexx Life Raj, Rocky Rivera, Nef the Pharaoh\u003c/strong>) out-of-town favorites (\u003cstrong>Dilated Peoples, the Beat Junkies, Blu & Exile, Mr. Lif\u003c/strong>) and Hieroglyphics themselves, the schedule also includes some welcome surprises.\u003c/p>\n\u003cp>\u003cstrong>Juvenile\u003c/strong>: When was the last time you listened to “\u003ca href=\"https://www.youtube.com/watch?v=T9CabmOu-Zk\" target=\"_blank\" rel=\"noopener\">Back That Azz Up\u003c/a>“? Out of all the non-Bay Area additions this year, Juvenile’s bound to attract one of the biggest crowds with pure Louisiana heat.\u003c/p>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>: The Daly City DJ crew defined the term “turntable band,” and after splitting up in 2000 has been the subject of documentaries and books. \u003ca href=\"http://www.latimes.com/entertainment/music/la-et-ms-qbert-turntablist-low-end-theory-fest-20160720-snap-story.html\" target=\"_blank\" rel=\"noopener\">Reunited\u003c/a> and working on a new album (minus founding member Mix Master Mike), the trio of DJ Qbert, D-Styles and Shortkut should see a joyful homecoming.\u003c/p>\n\u003cfigure id=\"attachment_11956434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Invisil-800x503.jpg\" alt=\"Invisibl Skratch Piklz.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-11956434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Invisil.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J-Cutt\u003c/strong>: Oakland history, right here. J-Cutt was the producer for the APG Crew, who put out two studio albums in the late ’80s from their headquarters on Apgar Street in Oakland — only to be inexplicably overlooked in most East Bay rap histories. Eric Arnold \u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/apg\" target=\"_blank\" rel=\"noopener\">remembers them here\u003c/a>, and it’s nice to see them represented at Heiro Day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Just Blaze\u003c/strong>: “Exhibit C” by Jay Electronica, “Freedom” by Beyoncé, “Compton” by Kendrick Lamar, “Touch the Sky” by Kanye West, “Girls, Girls, Girls” by Jay-Z — the guy’s produced hit after hit. \u003c/p>\n\u003cp>Tickets for Hiero Day (at $19.93 a pop) are on sale now \u003ca href=\"http://www.hieroday.com/#!tickets/cq53\" target=\"_blank\" rel=\"noopener\">right over here\u003c/a>. More details \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003cstrong>Full lineup below.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large.jpg\" alt=\"CqPLG3SUEAI8enI.jpg-large\" width=\"424\" height=\"656\" class=\"aligncenter size-full wp-image-11956432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large-400x619.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/CqPLG3SUEAI8enI.jpg-large-388x600.jpg 388w\" sizes=\"(max-width: 424px) 100vw, 424px\"> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-dicks-influential-american-punk-band-playing-final-show-in-october",
"title": "The Dicks, Influential American Punk Band, Playing Final Show in October",
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"content": "\u003cp>The Dicks, the first American hardcore band to feature an openly gay singer, have announced that they will be playing their last show this year, on the day before Halloween.\u003c/p>\n\u003cp>Started by the burly, outspoken Gary Floyd in his hometown of Austin, Texas, the band would go on to contribute some crucial entries to the punk canon, including “Wheelchair Epidemic,” “Saturday Night at the Bookstore,” “Kill From the Heart,” and their anti-police anthem, “Dicks Hate the Police.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjgki2sqVIg\u003c/p>\n\u003cp>Floyd says he started the Dicks initially as a “poster band,” which existed only in the fake concert flyers he created and put up all over the city. \u003c/p>\n\u003cp>“I had decided I wanted to be in a band but I didn’t want the lack of band members to hold me back,” Floyd said. “With the help of a few friends, I used to make posters about the Dicks playing. I’d make up addresses and say the Dicks were playing with real bands, and put them up all over Austin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then in 1980, Floyd was asked by a friend if the Dicks wanted to play a “punk rock prom” at the \u003ca href=\"http://awhq.com/\" target=\"_blank\" rel=\"noopener\">Armadillo World Headquarters\u003c/a>, Austin’s influential equivalent to San Francisco’s Fillmore Auditorium. Floyd and the band he cobbled together — bassist Buxf Parrott, drummer Pat Deason and guitarist Glen Taylor — practiced for two weeks before taking a stage once graced by stars such as Willie Nelson, Frank Zappa, Ray Charles and the Clash.\u003c/p>\n\u003cp>“We felt like we were \u003cem>way\u003c/em> prepared,” Floyd says.\u003c/p>\n\u003cp>The group’s signature sound was there from the start: noisy guitar riffs, pounding drums, and Floyd’s deep, graveled-throated singing style, which allowed him to seamlessly switch from belting melodies to screaming at the top of his lungs. It’s the same sound that can be heard on their earliest releases, including their first single and their landmark album, 1983’s \u003ci>Kill From the Heart.\u003c/i> \u003c/p>\n\u003cp>“Right off the bat, we were going to be different than your regular punk band. We also said we were communists, we were drag queens… we were twisting some heads, for sure,” Floyd says.\u003c/p>\n\u003cp>From that first set, Floyd would also make an impact with his appearance, taking the stage while sporting a large purple mohawk during a time when that just wasn’t seen in Texas. But as the band became a popular fixture in the local punk scene, Floyd became more outrageous with his appearance, fearlessly dressing in outfits that would give drag legend Divine a run for her money.\u003c/p>\n\u003cfigure id=\"attachment_11952990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg\" alt=\"The Dicks \" width=\"640\" height=\"432\" class=\"size-full wp-image-11952990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Dicks playing live \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I figured my reputation would be safe no matter what I did,” Floyd said. “It was always fun. I was always pretty adventurous with coming up with ways to look shocking, and shoving liver in my panties to throw on people, though I’d use vegan liver now.”\u003c/p>\n\u003cp>After hearing how great the Bay Area was from fellow Texan hardcore punks MDC, Floyd and the Dicks drove cross country in 1983 and played a show with the Dead Kennedys when they arrived in San Francisco. After staying a bit, everyone in the band wanted to head back to Texas, except Floyd. He’s been a San Francisco resident ever since.\u003c/p>\n\u003cp>“I had lived in Texas all my life and I found San Francisco to be wonderful,” Floyd said. “The weather had something to do with it.”\u003c/p>\n\u003cp>Floyd brought together a new lineup of the Dicks in San Francisco, who played for three years and released the band’s second studio album, \u003ci>These People,\u003c/i> before calling it quits in 1986. Floyd continued to sing in bands such as the roots rock-influenced Sister Double Happiness and grunge rockers Black Kali Ma before reuniting the Dicks in 2004 with original bassist Parrott and drummer Deason; Taylor died of liver and kidney failure in 1997.\u003c/p>\n\u003cp>“It was a little rough for a while, but we were always close. They’re my brothers,” Floyd said about the original Dicks. (Floyd and Parrott have a recording project together outside of the Dicks.)\u003c/p>\n\u003cp>Since the reunion, the Dicks have been playing occasionally, but Floyd, who still sings with the Gary Floyd Band and the Buddha Brothers, is ready to put the Dicks to rest. And as much as he loves the city by the bay, Floyd wanted the last show to be in Austin, a city that continues to show a fervent appreciation for his work after so many years. For example, in 2013, after Floyd underwent multiple knee surgeries he was kicked out of his longtime San Francisco home. Upon hearing the news, his friends in Austin held a fundraiser for him that featured a version of the Dicks with David Yow (Jesus Lizard, Scratch Acid) singing. Floyd says the benefit raised thousands of dollars.\u003c/p>\n\u003cp>“I’ve never been able to go on stage there since then and say ‘thank you,'” Floyd says. “I love Austin and instead of fading away, let’s say ‘Thank You’ and ‘Goodbye.'” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Dicks show will be at Grizzly Hall in Austin on Oct. 30, 2016.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Dicks, the first American hardcore band to feature an openly gay singer, have announced that they will be playing their last show this year, on the day before Halloween.\u003c/p>\n\u003cp>Started by the burly, outspoken Gary Floyd in his hometown of Austin, Texas, the band would go on to contribute some crucial entries to the punk canon, including “Wheelchair Epidemic,” “Saturday Night at the Bookstore,” “Kill From the Heart,” and their anti-police anthem, “Dicks Hate the Police.”\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/yjgki2sqVIg'\n title='//www.youtube.com/embed/yjgki2sqVIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Floyd says he started the Dicks initially as a “poster band,” which existed only in the fake concert flyers he created and put up all over the city. \u003c/p>\n\u003cp>“I had decided I wanted to be in a band but I didn’t want the lack of band members to hold me back,” Floyd said. “With the help of a few friends, I used to make posters about the Dicks playing. I’d make up addresses and say the Dicks were playing with real bands, and put them up all over Austin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then in 1980, Floyd was asked by a friend if the Dicks wanted to play a “punk rock prom” at the \u003ca href=\"http://awhq.com/\" target=\"_blank\" rel=\"noopener\">Armadillo World Headquarters\u003c/a>, Austin’s influential equivalent to San Francisco’s Fillmore Auditorium. Floyd and the band he cobbled together — bassist Buxf Parrott, drummer Pat Deason and guitarist Glen Taylor — practiced for two weeks before taking a stage once graced by stars such as Willie Nelson, Frank Zappa, Ray Charles and the Clash.\u003c/p>\n\u003cp>“We felt like we were \u003cem>way\u003c/em> prepared,” Floyd says.\u003c/p>\n\u003cp>The group’s signature sound was there from the start: noisy guitar riffs, pounding drums, and Floyd’s deep, graveled-throated singing style, which allowed him to seamlessly switch from belting melodies to screaming at the top of his lungs. It’s the same sound that can be heard on their earliest releases, including their first single and their landmark album, 1983’s \u003ci>Kill From the Heart.\u003c/i> \u003c/p>\n\u003cp>“Right off the bat, we were going to be different than your regular punk band. We also said we were communists, we were drag queens… we were twisting some heads, for sure,” Floyd says.\u003c/p>\n\u003cp>From that first set, Floyd would also make an impact with his appearance, taking the stage while sporting a large purple mohawk during a time when that just wasn’t seen in Texas. But as the band became a popular fixture in the local punk scene, Floyd became more outrageous with his appearance, fearlessly dressing in outfits that would give drag legend Divine a run for her money.\u003c/p>\n\u003cfigure id=\"attachment_11952990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg\" alt=\"The Dicks \" width=\"640\" height=\"432\" class=\"size-full wp-image-11952990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dicks-from-Texas-400x270.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Dicks playing live \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I figured my reputation would be safe no matter what I did,” Floyd said. “It was always fun. I was always pretty adventurous with coming up with ways to look shocking, and shoving liver in my panties to throw on people, though I’d use vegan liver now.”\u003c/p>\n\u003cp>After hearing how great the Bay Area was from fellow Texan hardcore punks MDC, Floyd and the Dicks drove cross country in 1983 and played a show with the Dead Kennedys when they arrived in San Francisco. After staying a bit, everyone in the band wanted to head back to Texas, except Floyd. He’s been a San Francisco resident ever since.\u003c/p>\n\u003cp>“I had lived in Texas all my life and I found San Francisco to be wonderful,” Floyd said. “The weather had something to do with it.”\u003c/p>\n\u003cp>Floyd brought together a new lineup of the Dicks in San Francisco, who played for three years and released the band’s second studio album, \u003ci>These People,\u003c/i> before calling it quits in 1986. Floyd continued to sing in bands such as the roots rock-influenced Sister Double Happiness and grunge rockers Black Kali Ma before reuniting the Dicks in 2004 with original bassist Parrott and drummer Deason; Taylor died of liver and kidney failure in 1997.\u003c/p>\n\u003cp>“It was a little rough for a while, but we were always close. They’re my brothers,” Floyd said about the original Dicks. (Floyd and Parrott have a recording project together outside of the Dicks.)\u003c/p>\n\u003cp>Since the reunion, the Dicks have been playing occasionally, but Floyd, who still sings with the Gary Floyd Band and the Buddha Brothers, is ready to put the Dicks to rest. And as much as he loves the city by the bay, Floyd wanted the last show to be in Austin, a city that continues to show a fervent appreciation for his work after so many years. For example, in 2013, after Floyd underwent multiple knee surgeries he was kicked out of his longtime San Francisco home. Upon hearing the news, his friends in Austin held a fundraiser for him that featured a version of the Dicks with David Yow (Jesus Lizard, Scratch Acid) singing. Floyd says the benefit raised thousands of dollars.\u003c/p>\n\u003cp>“I’ve never been able to go on stage there since then and say ‘thank you,'” Floyd says. “I love Austin and instead of fading away, let’s say ‘Thank You’ and ‘Goodbye.'” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Dicks show will be at Grizzly Hall in Austin on Oct. 30, 2016.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kItgnwf40t0\u003c/p>\n\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K5RGr4zsyHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8x-U62JCF44\u003c/p>\n\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=20CjztqC1eY\u003c/p>\n\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eRsn0PlvBvc\u003c/p>\n\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HbJ6Jsy0JfY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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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>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\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/kItgnwf40t0'\n title='//www.youtube.com/embed/kItgnwf40t0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" 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/K5RGr4zsyHY'\n title='//www.youtube.com/embed/K5RGr4zsyHY'\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>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" 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/8x-U62JCF44'\n title='//www.youtube.com/embed/8x-U62JCF44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" 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/20CjztqC1eY'\n title='//www.youtube.com/embed/20CjztqC1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" 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/eRsn0PlvBvc'\n title='//www.youtube.com/embed/eRsn0PlvBvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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},
"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
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