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"title": "Carole King and Stripper Nomi Sing for Their Lives in 'Beautiful' & 'Showgirls!'",
"headTitle": "Carole King and Stripper Nomi Sing for Their Lives in ‘Beautiful’ & ‘Showgirls!’ | KQED",
"content": "\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In style and intent, the Carole King musical \u003cem>Beautiful\u003c/em>, returning to San Francisco after a successful Broadway run, and Mediumface’s production of \u003cem>Showgirls! The Musical\u003c/em>, a trashy parody of the trashy 1980s cult classic, \u003cem>Showgirls, \u003c/em>live in different lands. And yet they share a belief in performance — that the will to sing in the face of our foolishness, no matter how stinging our failures, is the surest path to joy and the only way to salvation.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Carol King’s career: dramatic, or just beautiful?\u003c/strong>\u003c/p>\n\u003cp>In a sly bit of meta-theatrics, \u003cem>Beautiful \u003c/em>begins with King introducing herself at a 1971 Carnegie Hall concert fresh off the success of her Grammy-winning, chart topping solo album, \u003cem>Tapestry\u003c/em>. In true biopic fashion, Douglas McGrath’s book will bring us back around to that triumphant moment.\u003c/p>\n\u003cfigure id=\"attachment_11946568\" class=\"wp-caption aligncenter\" style=\"max-width: 606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946568\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg\" alt=\"Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in 'Beautiful' at the Orpheum Theatre.\" width=\"606\" height=\"342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989.jpg 606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful1-e1471427223989-400x226.jpg 400w\" sizes=\"(max-width: 606px) 100vw, 606px\">\u003cfigcaption class=\"wp-caption-text\">Carole King (Abby Mueller) talks to the audience before her 1971 Carnegie Hall concert in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first act follows the young King, full of uncertain ambition, selling her first song to Don Kirshner; meeting her soon-to-be husband and songwriting partner, Gerry Goffin; their initial success; an unplanned pregnancy; marriage; his cheating; and the beginning of their long slide towards divorce. It’s a standard show biz narrative, and yet somehow, at moments, \u003cem>Beautiful\u003c/em> transcends the genre in rather exciting ways.\u003c/p>\n\u003cp>And it’s all in the music and how McGrath gives us access to the art of songwriting and singing through his storytelling. Often a number will begin with King at the piano, sketching out a tune, and you can hear her gifts — the fine sense of timing and the shifty melodies that somehow effortlessly hold together. Then Goffin enters with a phrase or verse and they’ll sing together and you can hear the words float into place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So you aren’t just listening for the hit, as happens in most jukebox musicals, but also feeling your way through the music with King and Goffin. It’s a charming and enticing effect, and when it ends with slick recreations of the acts they wrote for — The Drifters, The Shirelles, Little Eva (who was their baby sitter) — the music and the musical soar.\u003c/p>\n\u003cfigure id=\"attachment_11946570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11946570\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg\" alt=\"The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out "Some King of Wonderful" in 'Beautiful' at the Orpheum Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beautiful3drifters-e1471427538465.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Drifters (Josh A. Dawson, Paris Nix, Jay McKenzie, and Noah Ricketts) belt out “Some King of Wonderful” in ‘Beautiful’ at the Orpheum Theatre. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We feel the twin poles of what it takes to create a hit song — the pedestrian nature of its birth and its electric triumph in performance. And for a moment you think that \u003cem>Beautiful\u003c/em> might find a daring bridge between the two, that anything could happen in the vortex of all these dissimilar and explosive talents working together. But McGrath hints at rather than plunges into the fury that lies beneath these pop hits.\u003c/p>\n\u003cp>Nothing is made of King and Goffin’s ability to write for and sell the first wave of African-American pop acts. Nor the subversive charm the duo brought to the white, manufactured boy band, The Monkees. What’s disappointing is how much of this material is right in front of McGrath, from Goffin’s affair with an African-American singer (called Janelle Woods in the show, but possibly one of the Chiffons) to King and Goffin’s retreat to the suburbs.\u003c/p>\n\u003cp>What should be rough and painful is glossed over. By the time King is singing her own songs — working on \u003cem>Tapestry\u003c/em> in the studio with Lou Alder and performing in front of huge crowds — the drama feels spent and preordained, the singing straining for effect. It should have been otherwise.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>Showgirls! The Musical \u003c/em>resolves Paul Verhoven’s schlocky movie in musical form\u003c/strong>\u003c/p>\n\u003cp>Paul Verhoven’s \u003cem>Showgirls\u003c/em>, a strip show take on \u003cem>All About Eve\u003c/em>, is one of the greatest so-bad-it’s-good movies of all time. It’s a deliberate piece of sleaze so over-the-top that it somehow achieves moments of subtlety, pain, and insight. One might argue that Verhoven anticipated the derision and parodies that would inevitably follow, and that Bob and Tobly McSmith’s musical theater send-up is exactly what he imagined would happen. The excesses of \u003cem>Showgirls\u003c/em> could only be resolved in a musical.\u003c/p>\n\u003cp>So in many ways the script — sometimes witty, always raunchy, and ridiculously provisional to the proceedings — is an afterthought. It could have been better or worse, and it still would have had nothing to do with what’s disturbing and fascinating about the production. \u003cem>Showgirls! The Musical\u003c/em> is all about the performers and how far they’re willing to embrace trash, just as Elizabeth Berkley and Gina Gershon did in the original. The answer at the Victoria Theatre is: pretty far.\u003c/p>\n\u003cfigure id=\"attachment_11946583\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11946583\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg\" alt=\"Nomi Malone (April Kidwell) takes her ambitions out on her stripper's pole in 'Showgirls! The Musical' at the Victoria Theatre.\" width=\"750\" height=\"423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Showgirls_edited-400x226.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Nomi Malone (April Kidwell) takes her ambitions out on her stripper’s pole in ‘Showgirls! The Musical’ at the Victoria Theatre. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>April Kidwell, as Nomi, the drifter-prostitute dreaming of Las Vegas showgirl stardom, gives the most committed and startling comic performance I’ve seen so far this year. Like the best of Will Ferrell’s early film work, Kidwell uses her naked body to shock us into recognizing our common humanity. The character might come off as wooden, shallow, and foolish, but the failures of Nomi’s body to obey her ambitions tell a more complex and mournful tale.\u003c/p>\n\u003cp>Watch Nomi attempt to master a stripper’s pole, have sex in a pool, or perform a topless soft shoe shuffle in the middle of a striptease. Suddenly, under Kidwell’s striking comic bumbling, you see how human a fool can be. And so when Nomi sings, no matter how risible the material — “Dancing Ain’t Fucking,” “Dead Hooker,” “We’re Fucking Underwater” to name just a few of the musical’s imaginatively-titled numbers — we listen with care and understanding. How wonderful that Nomi should find the strength, during and after every degradation, to burst into song.\u003c/p>\n\u003cp>\u003cem>Showgirls! The Musical\u003c/em> is not great art and might even be bad art, but somehow it does what great art so beautifully accomplishes — it forces you to care for someone you’d otherwise laugh at.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Beautiful\u003c/em> plays through Sunday, Sep. 18 at the Orpheum Theatre in San Francisco. For tickets and information please click \u003ca href=\"https://www.shnsf.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Showgirls! The Musical\u003c/em> plays through Saturday, Aug. 27 at the Victoria Theatre in San Francisco. For tickets and information please click \u003ca href=\"http://www.showgirlsthemusical.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rdio Was My Sound Salvation",
"headTitle": "Rdio Was My Sound Salvation | KQED",
"content": "\u003cp>Last month, I overheard a man in his forties trying to pick up a twenty-something — or else she was trying to pick him up, I honestly couldn’t tell — at a cozy communal table in a North Oakland brewery. Their conversation veered towards music, the universal flirtatious flotation device, as he bragged about being a live music photographer and being “heavily into records.” While she scrolled through her phone and listed off some current faves (Lord Huron, Chvrches, The Seshen), he asked if she bought vinyl or owned a record player. She paused, considered her words, and then spilled out “No… I want to, but I don’t want to. I just want to touch them. But I like records, for sure.”\u003c/p>\n\u003cp>Had I been a little less inhibited, or tipsy, I might have chimed in: “It’s because they’re so damn heavy and expensive, right?” \u003c/p>\n\u003cp>Don’t get me wrong — I’ve spent more than the average amount of time fetishizing tangible music products. It’s basically a job prerequisite for working at a record label, as I did for nearly five years: thou shalt love liner notes and album artwork.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Record-800x450.jpg\" alt=\"Record\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11948548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But I also came of age when LimeWire and Napster were tastemakers of sorts. The first time I logged into LimeWire, one of the most downloaded songs was “Punk Rock Princess” by Something Corporate. (I was 13, okay?) For the next three years, if you asked me my favorite band, I would reply without flinching, “You probably haven’t heard of them. Something Corporate.” I daydreamed, wearing my iPod buds, about what it would be like if Andrew McMahon was my boyfriend. (I’ll be your \u003ca href=\"http://www.glamour.com/story/andrew-mcmahon-reveals-the-rea\" target=\"_blank\" rel=\"noopener\">Konstantine\u003c/a>.) This would not have happened without LimeWire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, up until 2010, I gorged myself on full albums pilfered from the Pirate Bay. I needed to listen to every sub-genre and download whole discographies. I was a teenager and I was shameless. \u003c/p>\n\u003cp>Fast-forward to 2016 and to the music service streaming wars. \u003c/p>\n\u003cp>While Apple Music, Tidal and Spotify battle over market share, certain smaller and arguably better streaming services have been rendered collateral damage. The most recent major player to fall victim was \u003ca href=\"https://en.wikipedia.org/wiki/Rdio\" target=\"_blank\" rel=\"noopener\">Rdio\u003c/a> (RIP), which I had piously used for five years. Its death may have seemed just another headline to many, but for me and other loyal music nerds it was an emotionally jarring experience: our preferred streaming platform had dropped out from under us. When Rdio filed for bankruptcy in 2015 and its service officially ended later that year, so did five years’ worth of meticulously collected albums in a single digital collection. Before, they had been streamable within a few elegant finger-taps; now users only have access to a clunky text archive. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Phone-800x450.jpg\" alt=\"Phone\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11948549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>My favorite feature on Rdio was a page which generated a simple grid of album artwork listing your followers’ “Albums in Heavy Rotation.” I didn’t need to wait for a music journalist, A&R rep or publicist to tell me what they were listening to — I already had omniscient access. I wasn’t alone, either. In 2013, \u003cem>Entertainment Weekly\u003c/em> \u003ca href=\"http://www.ew.com/article/2013/01/11/whats-best-music-service\" target=\"_blank\" rel=\"noopener\">graded Rdio\u003c/a> as the best streaming music service with a solid A rating; Spotify got an A-, and Pandora was graded second-to-last with a woeful B-, which may explain why it bought Rdio’s intellectual assets late last year.\u003c/p>\n\u003cp>SoundCloud is \u003ca href=\"http://nordic.businessinsider.com/spotify-buys-soundcloud-2016-8/\" target=\"_blank\" rel=\"noopener\">possibly on the cusp\u003c/a> of a similar acquisition. The \u003ca href=\"http://www.nme.com/news/various-artists/91458\" target=\"_blank\" rel=\"noopener\">financially troubled\u003c/a> company has recently added ads for users who use the free version of the service, and while SoundCloud is one of the few major streaming platforms that’s free for artists uploading their songs, the cap for uploads has been shortening. (It’s currently at three hours.) All these factors have caused serious anxiety amongst artists, labels, and listeners about SoundCloud and its ability to foster emotional connection potentially disappearing.\u003c/p>\n\u003cp>And that’s the thing. Music is an indisputable emotional connection, and listeners become attached to whatever device supplies it, like a Pavlovian twitch to action. Turntables, Walkmans, iPods, and now, streaming services: you learn their technological quirks, personalize them, adopt certain muscle memories in their operation, and think of them as an essential personal item. A streaming service itself will never be as psychologically intoxicating as the smell of KALX’s vinyl library, but it does become a reliable, semi-tactile part of one’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/soundcloud-icon-800x374.jpg\" alt=\"soundcloud-icon\" width=\"800\" height=\"374\" class=\"aligncenter size-medium wp-image-11948550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-960x449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Vinyl sales may be on the upswing, but that doesn’t mean people buy records to actually listen to the things. In fact, the BBC \u003ca href=\"http://www.bbc.com/news/entertainment-arts-36027867\" target=\"_blank\" rel=\"noopener\">recently published a study\u003c/a> in which 48 percent of people polled who bought vinyl in the last month admit they’ve yet to listen to it; seven percent of those polled who do buy vinyl don’t even own a turntable. And from a certain standpoint, why would they? You can’t listen to vinyl on BART after a bad date. A record player won’t let you walk along Ocean Beach listening to a playlist your best friend just sent to cheer you up. Those are the moments that we talk about when we talk about an emotional connection to the way we listen to music, and the reason why I felt such a loss at Rdio’s passing.\u003c/p>\n\u003cp>Many months after Rdio’s swan song, I’ve adapted, like everyone else my age who’s grown up with new technology every few years. I’m already less crotchety about having to use Spotify. I’m starting to make more of a point to read music news publications to discover music, and maybe I’m even being more forthright asking for recommendations in person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the unlikely couple bridging the generational divide at the brewery? After his pontificating about vinyl and her scrolling through her phone for music, they actually exchanged phone numbers. Who knows? Maybe there’s a mixtape or Spotify playlist in their future. \u003c/p>\n\n",
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"excerpt": "The tactile experience of playing vinyl albums has been fetishized over and over, but a similar psychological attachment occurs with ethereal streaming services.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, I overheard a man in his forties trying to pick up a twenty-something — or else she was trying to pick him up, I honestly couldn’t tell — at a cozy communal table in a North Oakland brewery. Their conversation veered towards music, the universal flirtatious flotation device, as he bragged about being a live music photographer and being “heavily into records.” While she scrolled through her phone and listed off some current faves (Lord Huron, Chvrches, The Seshen), he asked if she bought vinyl or owned a record player. She paused, considered her words, and then spilled out “No… I want to, but I don’t want to. I just want to touch them. But I like records, for sure.”\u003c/p>\n\u003cp>Had I been a little less inhibited, or tipsy, I might have chimed in: “It’s because they’re so damn heavy and expensive, right?” \u003c/p>\n\u003cp>Don’t get me wrong — I’ve spent more than the average amount of time fetishizing tangible music products. It’s basically a job prerequisite for working at a record label, as I did for nearly five years: thou shalt love liner notes and album artwork.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Record-800x450.jpg\" alt=\"Record\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11948548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Record-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But I also came of age when LimeWire and Napster were tastemakers of sorts. The first time I logged into LimeWire, one of the most downloaded songs was “Punk Rock Princess” by Something Corporate. (I was 13, okay?) For the next three years, if you asked me my favorite band, I would reply without flinching, “You probably haven’t heard of them. Something Corporate.” I daydreamed, wearing my iPod buds, about what it would be like if Andrew McMahon was my boyfriend. (I’ll be your \u003ca href=\"http://www.glamour.com/story/andrew-mcmahon-reveals-the-rea\" target=\"_blank\" rel=\"noopener\">Konstantine\u003c/a>.) This would not have happened without LimeWire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, up until 2010, I gorged myself on full albums pilfered from the Pirate Bay. I needed to listen to every sub-genre and download whole discographies. I was a teenager and I was shameless. \u003c/p>\n\u003cp>Fast-forward to 2016 and to the music service streaming wars. \u003c/p>\n\u003cp>While Apple Music, Tidal and Spotify battle over market share, certain smaller and arguably better streaming services have been rendered collateral damage. The most recent major player to fall victim was \u003ca href=\"https://en.wikipedia.org/wiki/Rdio\" target=\"_blank\" rel=\"noopener\">Rdio\u003c/a> (RIP), which I had piously used for five years. Its death may have seemed just another headline to many, but for me and other loyal music nerds it was an emotionally jarring experience: our preferred streaming platform had dropped out from under us. When Rdio filed for bankruptcy in 2015 and its service officially ended later that year, so did five years’ worth of meticulously collected albums in a single digital collection. Before, they had been streamable within a few elegant finger-taps; now users only have access to a clunky text archive. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Phone-800x450.jpg\" alt=\"Phone\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-11948549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Phone-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>My favorite feature on Rdio was a page which generated a simple grid of album artwork listing your followers’ “Albums in Heavy Rotation.” I didn’t need to wait for a music journalist, A&R rep or publicist to tell me what they were listening to — I already had omniscient access. I wasn’t alone, either. In 2013, \u003cem>Entertainment Weekly\u003c/em> \u003ca href=\"http://www.ew.com/article/2013/01/11/whats-best-music-service\" target=\"_blank\" rel=\"noopener\">graded Rdio\u003c/a> as the best streaming music service with a solid A rating; Spotify got an A-, and Pandora was graded second-to-last with a woeful B-, which may explain why it bought Rdio’s intellectual assets late last year.\u003c/p>\n\u003cp>SoundCloud is \u003ca href=\"http://nordic.businessinsider.com/spotify-buys-soundcloud-2016-8/\" target=\"_blank\" rel=\"noopener\">possibly on the cusp\u003c/a> of a similar acquisition. The \u003ca href=\"http://www.nme.com/news/various-artists/91458\" target=\"_blank\" rel=\"noopener\">financially troubled\u003c/a> company has recently added ads for users who use the free version of the service, and while SoundCloud is one of the few major streaming platforms that’s free for artists uploading their songs, the cap for uploads has been shortening. (It’s currently at three hours.) All these factors have caused serious anxiety amongst artists, labels, and listeners about SoundCloud and its ability to foster emotional connection potentially disappearing.\u003c/p>\n\u003cp>And that’s the thing. Music is an indisputable emotional connection, and listeners become attached to whatever device supplies it, like a Pavlovian twitch to action. Turntables, Walkmans, iPods, and now, streaming services: you learn their technological quirks, personalize them, adopt certain muscle memories in their operation, and think of them as an essential personal item. A streaming service itself will never be as psychologically intoxicating as the smell of KALX’s vinyl library, but it does become a reliable, semi-tactile part of one’s life. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/soundcloud-icon-800x374.jpg\" alt=\"soundcloud-icon\" width=\"800\" height=\"374\" class=\"aligncenter size-medium wp-image-11948550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon-960x449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/soundcloud-icon.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Vinyl sales may be on the upswing, but that doesn’t mean people buy records to actually listen to the things. In fact, the BBC \u003ca href=\"http://www.bbc.com/news/entertainment-arts-36027867\" target=\"_blank\" rel=\"noopener\">recently published a study\u003c/a> in which 48 percent of people polled who bought vinyl in the last month admit they’ve yet to listen to it; seven percent of those polled who do buy vinyl don’t even own a turntable. And from a certain standpoint, why would they? You can’t listen to vinyl on BART after a bad date. A record player won’t let you walk along Ocean Beach listening to a playlist your best friend just sent to cheer you up. Those are the moments that we talk about when we talk about an emotional connection to the way we listen to music, and the reason why I felt such a loss at Rdio’s passing.\u003c/p>\n\u003cp>Many months after Rdio’s swan song, I’ve adapted, like everyone else my age who’s grown up with new technology every few years. I’m already less crotchety about having to use Spotify. I’m starting to make more of a point to read music news publications to discover music, and maybe I’m even being more forthright asking for recommendations in person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the unlikely couple bridging the generational divide at the brewery? After his pontificating about vinyl and her scrolling through her phone for music, they actually exchanged phone numbers. Who knows? Maybe there’s a mixtape or Spotify playlist in their future. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "When Will Justin Timberlake Stop Bringing Up Britney's Cheating for Sympathy? (Never)",
"title": "When Will Justin Timberlake Stop Bringing Up Britney's Cheating for Sympathy? (Never)",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>[contextly_sidebar id=\"Ond8RsVdxn21qkKt52SDZ4vhoveUYqHJ\"]In the fall of 2002, Justin Timberlake launched his solo career. He needed it to work or he would have to grow old singing \u003cem>Girl, this\u003c/em> and \u003cem>Girl, that\u003c/em> with a gang of just okay singers. So he released \"Cry Me a River,\" an anthem for the cuckolded that would get coverage in all the gossip magazines, as his second single. Before we even had time to speculate about who would dare cheat on America's Boy Next Door, Justin released a video featuring an actress who looks exactly like Britney Spears, his former girlfriend, just to make sure we knew exactly who to shame.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DksSPZTZES0\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=zIjgCn6JkXU\">a Barbara Walters interview\u003c/a> around this time, he said he would always love Britney and she could always turn to him if she ever needed anything, and then proceeded to suggest that Britney went back on her vow to stay a virgin until marriage and shared an unreleased song with the lyrics:\u003c/p>\n\u003cblockquote>\u003cp>Thought our love was so strong, I guess I was dead wrong, but to look at it positively, Hey, girl, at least you gave me another song about a horrible woman.\u003c/p>\u003c/blockquote>\n\u003cp>Insert every eye-roll gif you can find here. Sure, he has the right to write about his life. Where it gets gross is the malicious revenge fantasy, coupled with pretending to be an innocent abused puppy. This was never about catharsis. This was about sacrificing Britney's reputation for a hit.\u003c/p>\n\u003cp>A little over a year later, he would use a tweaked version of this get-more-famous-with-the-help-of-a-celebrity-woman-and-drop-her-when-she's-no-longer-useful model. Remember how Justin got an opening act gig on Janet Jackson's tour, allegedly dated her behind the scenes for publicity, and then \u003ca href=\"https://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">let America tear her apart after he ripped her top off during the Super Bowl Halftime Show\u003c/a>? You probably forgot Justin was even there because he left her high and dry in the aftermath to preserve his career, and got away with it too because the patriarchy is a mighty force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So why am I bringing this all up 14 years later? Because Justin is bringing it up 14 years later. In\u003ca href=\"http://www.breatheheavy.com/justin-timberlake-covers-vanity-fair-italia/\"> a new Vanity Fair cover story\u003c/a>, he said this:\u003c/p>\n\u003cblockquote>\u003cp>In the past, suffering helped me to compose. ‘Cry Me a River’ was written in a moment of pain, and the whole world knew.\u003c/p>\u003c/blockquote>\n\u003cp>Suffering? Really?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/567d6ea5-5242-4be9-8369-842e29657b4d.gif\">\u003cimg class=\"aligncenter size-full wp-image-33358\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/567d6ea5-5242-4be9-8369-842e29657b4d.gif\" alt=\"ross friends down hands gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>Yes, breakups suck, Justin, but have at least a modicum of chill. And why did the whole world know? Because you made sure we did by bringing it up in every interview, in several songs, and in a music video.\u003c/p>\n\u003cp>Justin's brand is getting away with sh*t. Let us count the ways:\u003c/p>\n\u003cp>He got away with:\u003c/p>\n\u003cul>\n\u003cli>slut-shaming Britney, while playing the victim.\u003c/li>\n\u003cli>what he did to Janet.\u003c/li>\n\u003cli>getting way too much praise for being a mediocre actor and \"comedian.\"\u003c/li>\n\u003cli>going #1 with his insufferable new single, which is a blatant rip-off of Pharrell's \"Happy.\"\u003c/li>\n\u003cli>profiting off of black culture and then preaching All Lives Matter BS.\u003c/li>\n\u003c/ul>\n\u003cp>You get the picture.\u003c/p>\n\u003cp>After much struggle, Britney has moved on. Janet has moved on. Now it's Justin's turn.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/pvz736wo5710e535233fe957237487.gif\">\u003cimg class=\"aligncenter size-full wp-image-33354\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/pvz736wo5710e535233fe957237487.gif\" alt=\"let it go gif\" width=\"500\" height=\"209\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, read this:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>In the fall of 2002, Justin Timberlake launched his solo career. He needed it to work or he would have to grow old singing \u003cem>Girl, this\u003c/em> and \u003cem>Girl, that\u003c/em> with a gang of just okay singers. So he released \"Cry Me a River,\" an anthem for the cuckolded that would get coverage in all the gossip magazines, as his second single. Before we even had time to speculate about who would dare cheat on America's Boy Next Door, Justin released a video featuring an actress who looks exactly like Britney Spears, his former girlfriend, just to make sure we knew exactly who to shame.\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/DksSPZTZES0'\n title='//www.youtube.com/embed/DksSPZTZES0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=zIjgCn6JkXU\">a Barbara Walters interview\u003c/a> around this time, he said he would always love Britney and she could always turn to him if she ever needed anything, and then proceeded to suggest that Britney went back on her vow to stay a virgin until marriage and shared an unreleased song with the lyrics:\u003c/p>\n\u003cblockquote>\u003cp>Thought our love was so strong, I guess I was dead wrong, but to look at it positively, Hey, girl, at least you gave me another song about a horrible woman.\u003c/p>\u003c/blockquote>\n\u003cp>Insert every eye-roll gif you can find here. Sure, he has the right to write about his life. Where it gets gross is the malicious revenge fantasy, coupled with pretending to be an innocent abused puppy. This was never about catharsis. This was about sacrificing Britney's reputation for a hit.\u003c/p>\n\u003cp>A little over a year later, he would use a tweaked version of this get-more-famous-with-the-help-of-a-celebrity-woman-and-drop-her-when-she's-no-longer-useful model. Remember how Justin got an opening act gig on Janet Jackson's tour, allegedly dated her behind the scenes for publicity, and then \u003ca href=\"https://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">let America tear her apart after he ripped her top off during the Super Bowl Halftime Show\u003c/a>? You probably forgot Justin was even there because he left her high and dry in the aftermath to preserve his career, and got away with it too because the patriarchy is a mighty force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So why am I bringing this all up 14 years later? Because Justin is bringing it up 14 years later. In\u003ca href=\"http://www.breatheheavy.com/justin-timberlake-covers-vanity-fair-italia/\"> a new Vanity Fair cover story\u003c/a>, he said this:\u003c/p>\n\u003cblockquote>\u003cp>In the past, suffering helped me to compose. ‘Cry Me a River’ was written in a moment of pain, and the whole world knew.\u003c/p>\u003c/blockquote>\n\u003cp>Suffering? Really?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/567d6ea5-5242-4be9-8369-842e29657b4d.gif\">\u003cimg class=\"aligncenter size-full wp-image-33358\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/567d6ea5-5242-4be9-8369-842e29657b4d.gif\" alt=\"ross friends down hands gif\" width=\"500\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>Yes, breakups suck, Justin, but have at least a modicum of chill. And why did the whole world know? Because you made sure we did by bringing it up in every interview, in several songs, and in a music video.\u003c/p>\n\u003cp>Justin's brand is getting away with sh*t. Let us count the ways:\u003c/p>\n\u003cp>He got away with:\u003c/p>\n\u003cul>\n\u003cli>slut-shaming Britney, while playing the victim.\u003c/li>\n\u003cli>what he did to Janet.\u003c/li>\n\u003cli>getting way too much praise for being a mediocre actor and \"comedian.\"\u003c/li>\n\u003cli>going #1 with his insufferable new single, which is a blatant rip-off of Pharrell's \"Happy.\"\u003c/li>\n\u003cli>profiting off of black culture and then preaching All Lives Matter BS.\u003c/li>\n\u003c/ul>\n\u003cp>You get the picture.\u003c/p>\n\u003cp>After much struggle, Britney has moved on. Janet has moved on. Now it's Justin's turn.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/pvz736wo5710e535233fe957237487.gif\">\u003cimg class=\"aligncenter size-full wp-image-33354\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/pvz736wo5710e535233fe957237487.gif\" alt=\"let it go gif\" width=\"500\" height=\"209\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, read this:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>All the excitement of the Summer Olympics in Rio got me thinking about the long history of Brazilian music in California.\u003c/p>\n\u003cp>In the 1940s, \u003ca href=\"https://www.youtube.com/watch?v=KHJLm6WNEv4\">Carmen Miranda\u003c/a> landed in Hollywood with her \u003ca href=\"https://www.youtube.com/watch?v=jVnOVT1LRe0\">Bando da Lua\u003c/a>, and Brazilian music hit the pop charts the early 1960s, when Americans took to the bossa nova.\u003c/p>\n\u003cp>The great \u003ca href=\"https://www.youtube.com/watch?v=VlHizjw3s5E\">composer Moacir Santos\u003c/a> set out for Hollywood in the late 1960s hoping to build a career writing film scores, which didn’t pan out, but led to several classic albums for Blue Note Records. \u003ca href=\"https://www.youtube.com/watch?v=BrZBiqK0p9E\">Sergio Mendes\u003c/a> had much better luck recasting Brazilian and American pop hits with Brasil ’66, and \u003ca href=\"https://www.youtube.com/watch?v=PExw_UxX4YY\">Flora Purim and Airto\u003c/a> became minor pop stars in the ‘70s with their soaring Brazilian jazz.\u003c/p>\n\u003cp>These days, many Brazilian musicians call California home, including guitarist Sergio Assad. Assad is best known as half of classical music’s most celebrated \u003ca href=\"https://www.youtube.com/watch?v=n4vpqjQ8Cuo\">guitar duo\u003c/a> (with his younger brother Odair), but his gorgeous new album \"Relíquia\" (Adventure Music) introduces a new familial partnership. His daughter \u003ca href=\"http://www.clariceassad.com\">Clarice Assad\u003c/a> is a fiercely creatively vocalist, pianist and \u003ca href=\"https://www.youtube.com/watch?v=nGPg0N-oUNc\">oft-commissioned composer\u003c/a> whose work has been performed by major symphonies and chamber ensembles around the world.\u003c/p>\n\u003cp>Sergio has lived in San Francisco since 2008, when he joined the faculty at the San Francisco Conservatory, while Clarice, who’s based in Chicago, has long worked closely with San Francisco’s \u003ca href=\"http://ncco.org\">New Century Chamber Orchestra\u003c/a> as a composer in residence, arranger and orchestrator. A love letter of an album, \"Relíquia\" is full of ravishing melodies that often feel hauntingly familiar, only to resolve with an unanticipated twist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sergio composed most of the songs, working with an array of top-shelf lyricists like Daniel Basilio (on the dreamy “Artistico”), who’s collaborated with Clarice on several song cycles, and Chico Cesar, on what should be a new standard, the surging “Capoeira.” In many ways, the album feels like a rapprochement. Music took Sergio away from his family when Clarice was growing up as he toured internationally. \"Reliquia\" brings them together as equals, with a cast of collaborators that includes clarinetist Derek Bermel, percussionist Keita Ogawa, bassist Yasushi Nakamura, vocalist Angela Olinto and mandolin master Mike Marshall on the title track. If the project has an emotional centerpiece, it’s Clarice’s brief, luminous tune, “Song For My Father.”\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-11048952\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-960x873.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Clarice is known for singing in French, Italian and English, in addition to Portuguese. San Diego jazz vocalist \u003ca href=\"http://allisonadamstucker.com\">Allison Adams Tucker \u003c/a>is also something of an expert in multilingual music. Her new album \"WANDERlust\" (Origin Records) features songs in six languages, and she’s convincing in each one. A celebration of her love of travel and far-flung musical passions, the album opens with Cy Coleman and Carolyn Leigh’s “When In Rome,” which is kind of perfect, given her chameleon like powers.\u003c/p>\n\u003cp>She recorded the album in New York, and \"WANDERlust\" features an international cast of jazz stars including saxophonist Chris Potter, drummer Antonio Sanchez, bassist Scott Colley, guitarist Stéphane Wrembel and the great Brazilian guitarist Romero Lubambo, who supplies the supple bossa nova pulse on his arrangement of Jobim’s “Águas de Março.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is Tucker’s third album, and it really feels like she’s stepping into the big leagues. She covers a wide range of material with authority and intelligence, from Piazzolla’s “Vuelvo al Sur” and Morricone’s “Cinema Paradiso” to \"Better Days Ahead,\" a Pat Metheny tune featuring her wordless vocals. Like the best travel companions, Tucker coaxes you to experience things in new ways, like on the title track, a gorgeous arrangement of Björk's “Wanderlust” by pianist Josh Nelson. Hopefully there are many more travels in Tucker’s future.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All the excitement of the Summer Olympics in Rio got me thinking about the long history of Brazilian music in California.\u003c/p>\n\u003cp>In the 1940s, \u003ca href=\"https://www.youtube.com/watch?v=KHJLm6WNEv4\">Carmen Miranda\u003c/a> landed in Hollywood with her \u003ca href=\"https://www.youtube.com/watch?v=jVnOVT1LRe0\">Bando da Lua\u003c/a>, and Brazilian music hit the pop charts the early 1960s, when Americans took to the bossa nova.\u003c/p>\n\u003cp>The great \u003ca href=\"https://www.youtube.com/watch?v=VlHizjw3s5E\">composer Moacir Santos\u003c/a> set out for Hollywood in the late 1960s hoping to build a career writing film scores, which didn’t pan out, but led to several classic albums for Blue Note Records. \u003ca href=\"https://www.youtube.com/watch?v=BrZBiqK0p9E\">Sergio Mendes\u003c/a> had much better luck recasting Brazilian and American pop hits with Brasil ’66, and \u003ca href=\"https://www.youtube.com/watch?v=PExw_UxX4YY\">Flora Purim and Airto\u003c/a> became minor pop stars in the ‘70s with their soaring Brazilian jazz.\u003c/p>\n\u003cp>These days, many Brazilian musicians call California home, including guitarist Sergio Assad. Assad is best known as half of classical music’s most celebrated \u003ca href=\"https://www.youtube.com/watch?v=n4vpqjQ8Cuo\">guitar duo\u003c/a> (with his younger brother Odair), but his gorgeous new album \"Relíquia\" (Adventure Music) introduces a new familial partnership. His daughter \u003ca href=\"http://www.clariceassad.com\">Clarice Assad\u003c/a> is a fiercely creatively vocalist, pianist and \u003ca href=\"https://www.youtube.com/watch?v=nGPg0N-oUNc\">oft-commissioned composer\u003c/a> whose work has been performed by major symphonies and chamber ensembles around the world.\u003c/p>\n\u003cp>Sergio has lived in San Francisco since 2008, when he joined the faculty at the San Francisco Conservatory, while Clarice, who’s based in Chicago, has long worked closely with San Francisco’s \u003ca href=\"http://ncco.org\">New Century Chamber Orchestra\u003c/a> as a composer in residence, arranger and orchestrator. A love letter of an album, \"Relíquia\" is full of ravishing melodies that often feel hauntingly familiar, only to resolve with an unanticipated twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sergio composed most of the songs, working with an array of top-shelf lyricists like Daniel Basilio (on the dreamy “Artistico”), who’s collaborated with Clarice on several song cycles, and Chico Cesar, on what should be a new standard, the surging “Capoeira.” In many ways, the album feels like a rapprochement. Music took Sergio away from his family when Clarice was growing up as he toured internationally. \"Reliquia\" brings them together as equals, with a cast of collaborators that includes clarinetist Derek Bermel, percussionist Keita Ogawa, bassist Yasushi Nakamura, vocalist Angela Olinto and mandolin master Mike Marshall on the title track. If the project has an emotional centerpiece, it’s Clarice’s brief, luminous tune, “Song For My Father.”\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-11048952\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-960x873.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Clarice is known for singing in French, Italian and English, in addition to Portuguese. San Diego jazz vocalist \u003ca href=\"http://allisonadamstucker.com\">Allison Adams Tucker \u003c/a>is also something of an expert in multilingual music. Her new album \"WANDERlust\" (Origin Records) features songs in six languages, and she’s convincing in each one. A celebration of her love of travel and far-flung musical passions, the album opens with Cy Coleman and Carolyn Leigh’s “When In Rome,” which is kind of perfect, given her chameleon like powers.\u003c/p>\n\u003cp>She recorded the album in New York, and \"WANDERlust\" features an international cast of jazz stars including saxophonist Chris Potter, drummer Antonio Sanchez, bassist Scott Colley, guitarist Stéphane Wrembel and the great Brazilian guitarist Romero Lubambo, who supplies the supple bossa nova pulse on his arrangement of Jobim’s “Águas de Março.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is Tucker’s third album, and it really feels like she’s stepping into the big leagues. She covers a wide range of material with authority and intelligence, from Piazzolla’s “Vuelvo al Sur” and Morricone’s “Cinema Paradiso” to \"Better Days Ahead,\" a Pat Metheny tune featuring her wordless vocals. Like the best travel companions, Tucker coaxes you to experience things in new ways, like on the title track, a gorgeous arrangement of Björk's “Wanderlust” by pianist Josh Nelson. Hopefully there are many more travels in Tucker’s future.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Waiting around for Frank Ocean's next album to drop has become something of a music fan's purgatory these last few years. The man teases a release date; it passes. He posts a cryptic livestream of a woodshop to his website; nothing happens. It's a cycle Ocean producer Malay addressed yesterday in a Reddit forum with the explanation \"Art cannot be rushed.\"\u003c/p>\n\u003cp>Fair enough. If we can't rush it, though, what's an impatient, social media-fluent Frank Ocean devotee to do? (Aside from the well-established practice of expressing frustration in the form of \u003ca href=\"https://ww2.kqed.org/pop/2016/08/08/the-best-twitter-reactions-to-frank-oceans-delayed-album/\" target=\"_blank\">Twitter memes\u003c/a>, of course.)\u003c/p>\n\u003cp>Well, get \u003ca href=\"http://shahzeb.co/frank-ocean/\" target=\"_blank\">this new app\u003c/a>, for one. \u003ca href=\"http://shahzeb.co/frank-ocean/\">(650)82OCEAN\u003c/a>, designed by UC Davis engineering student Shahzeb Khan, is essentially a bot that scours the web for Frank Ocean-related material and, if you hand over your digits, it'll text you the moment a new record goes live.\u003c/p>\n\u003cfigure id=\"attachment_33313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190.jpg\">\u003cimg class=\"size-medium wp-image-33313\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-800x876.jpg\" alt=\"Its the next best thing to receiving a call from Frank himself. Kinda. Maybe. \" width=\"800\" height=\"876\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-400x438.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-768x841.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It's the next best thing to receiving a call from Frank himself! Kinda. Maybe.\u003c/figcaption>\u003c/figure>\n\u003cp>From the website's \"about\" section:\u003c/p>\n\u003cblockquote>\u003cp>This service automatically looks at Spotify, iTunes, and Twitter for the latest in Frank Ocean news. The second it detects that a new album has gone live, it will automatically send everyone a text with the link for the album. It last checked for new music \u003cspan class=\"ago\">7 minutes ago\u003c/span>. There are currently \u003cspan class=\"users\">16,660\u003c/span> people who are eagerly awaiting for its arrival. Your number sits in a secure database, and you can stop the texts anytime by replying \"stop\".\u003c/p>\u003c/blockquote>\n\u003cp>That's right, just give the nice robot your phone number, and you can rest easy with the knowledge that you won't miss at thing. The fun part here is imagining what those of us who sign up for such a service will do with the, I don't know, three-minute lead we'll have on everyone else with an internet connection. Will weddings halt at the altar? Brain surgeons pause mid-operation to remove their gloves and smash that download button? Personally I'm imagining at least one air horn going off, and probably someone running into the lobby of a large building, shouting \"FRANK OCEAN ALBUM!\" the way one might normally shout \"FIRE!\" and then, you know, chaos ensuing -- all, of course, against a backdrop of Frank Ocean's sweet baritone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you'd like to be among the first to take part in the coming Frank Ocean-ocalypse, \u003ca href=\"http://shahzeb.co/frank-ocean/\" target=\"_blank\">sign up right here\u003c/a>, and consider donating $2 to keep this very important service going. You'll know you're in the cool kids' club when you receive a text like the one below. Welcome to the future! Is it everything you hoped it'd be?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/IMG_1648.png\">\u003cimg class=\"aligncenter size-full wp-image-33312\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/IMG_1648.png\" alt=\"IMG_1648\" width=\"640\" height=\"1136\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/IMG_1648.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/IMG_1648-400x710.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Waiting around for Frank Ocean's next album to drop has become something of a music fan's purgatory these last few years. The man teases a release date; it passes. He posts a cryptic livestream of a woodshop to his website; nothing happens. It's a cycle Ocean producer Malay addressed yesterday in a Reddit forum with the explanation \"Art cannot be rushed.\"\u003c/p>\n\u003cp>Fair enough. If we can't rush it, though, what's an impatient, social media-fluent Frank Ocean devotee to do? (Aside from the well-established practice of expressing frustration in the form of \u003ca href=\"https://ww2.kqed.org/pop/2016/08/08/the-best-twitter-reactions-to-frank-oceans-delayed-album/\" target=\"_blank\">Twitter memes\u003c/a>, of course.)\u003c/p>\n\u003cp>Well, get \u003ca href=\"http://shahzeb.co/frank-ocean/\" target=\"_blank\">this new app\u003c/a>, for one. \u003ca href=\"http://shahzeb.co/frank-ocean/\">(650)82OCEAN\u003c/a>, designed by UC Davis engineering student Shahzeb Khan, is essentially a bot that scours the web for Frank Ocean-related material and, if you hand over your digits, it'll text you the moment a new record goes live.\u003c/p>\n\u003cfigure id=\"attachment_33313\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190.jpg\">\u003cimg class=\"size-medium wp-image-33313\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-800x876.jpg\" alt=\"Its the next best thing to receiving a call from Frank himself. Kinda. Maybe. \" width=\"800\" height=\"876\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-400x438.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/frank-ocean-channel-orange-set-to-debut-at-2-07-e1471377873190-768x841.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">It's the next best thing to receiving a call from Frank himself! Kinda. Maybe.\u003c/figcaption>\u003c/figure>\n\u003cp>From the website's \"about\" section:\u003c/p>\n\u003cblockquote>\u003cp>This service automatically looks at Spotify, iTunes, and Twitter for the latest in Frank Ocean news. The second it detects that a new album has gone live, it will automatically send everyone a text with the link for the album. It last checked for new music \u003cspan class=\"ago\">7 minutes ago\u003c/span>. There are currently \u003cspan class=\"users\">16,660\u003c/span> people who are eagerly awaiting for its arrival. Your number sits in a secure database, and you can stop the texts anytime by replying \"stop\".\u003c/p>\u003c/blockquote>\n\u003cp>That's right, just give the nice robot your phone number, and you can rest easy with the knowledge that you won't miss at thing. The fun part here is imagining what those of us who sign up for such a service will do with the, I don't know, three-minute lead we'll have on everyone else with an internet connection. Will weddings halt at the altar? Brain surgeons pause mid-operation to remove their gloves and smash that download button? Personally I'm imagining at least one air horn going off, and probably someone running into the lobby of a large building, shouting \"FRANK OCEAN ALBUM!\" the way one might normally shout \"FIRE!\" and then, you know, chaos ensuing -- all, of course, against a backdrop of Frank Ocean's sweet baritone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you'd like to be among the first to take part in the coming Frank Ocean-ocalypse, \u003ca href=\"http://shahzeb.co/frank-ocean/\" target=\"_blank\">sign up right here\u003c/a>, and consider donating $2 to keep this very important service going. You'll know you're in the cool kids' club when you receive a text like the one below. Welcome to the future! Is it everything you hoped it'd be?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/IMG_1648.png\">\u003cimg class=\"aligncenter size-full wp-image-33312\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/IMG_1648.png\" alt=\"IMG_1648\" width=\"640\" height=\"1136\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/IMG_1648.png 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/IMG_1648-400x710.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bobby Hutcherson, Jazz Legend of the Vibraphone, Dies at 75",
"headTitle": "Bobby Hutcherson, Jazz Legend of the Vibraphone, Dies at 75 | KQED",
"content": "\u003cp>Vibraphonist Bobby Hutcherson, an NEA Jazz Master who influenced generations of musicians as an improviser and composer, \u003ca href=\"https://twitter.com/SFJAZZ/status/765401203656097793\" target=\"_blank\" rel=\"noopener\">died Monday at the age of 75\u003c/a> after a protracted struggle with emphysema.\u003c/p>\n\u003cp>A longtime resident of the seaside hamlet Montara, about 20 miles south of San Francisco, Hutcherson grew up in Pasadena and made a name for himself in the early 1960s as a creative catalyst for a cadre of brilliant young musicians associated with the Blue Note label. As a composer, bandleader and recording artist, Hutcherson created a body of work that ranks among the most profound and widely celebrated in an often divisive era marked by a proliferation jazz aesthetics.\u003c/p>\n\u003cfigure id=\"attachment_11941707\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008.jpg\" alt=\"Bobby Hutcherson.\" width=\"800\" height=\"1007\" class=\"size-full wp-image-11941707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-400x504.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-477x600.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-768x967.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutcherson.\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced to the Blue Note fold by veteran alto saxophonist Jackie McLean, Hutcherson quickly joined a loose confederation of creatively ambitious New York musicians inspired by the rhythmic and harmonic innovations of free jazz patriarch Ornette Coleman but dedicated to experimenting with compositional form. With his thick, ringing four-mallet chords and exquisitely chiseled melodic lines, he played a defining role on several dozen era-defining albums, such as Eric Dolphy’s \u003cem>Out To Lunch\u003c/em>, Lee Morgan’s \u003cem>The Procrastinator\u003c/em>, McCoy Tyner’s \u003cem>Time For Tyner\u003c/em>, Joe Henderson’s \u003cem>Mode For Joe\u003c/em>, Tony Williams’ \u003cem>Life Time\u003c/em>, Grachan Moncur III’s \u003cem>Evolution\u003c/em>, and McLean’s \u003cem>One Step Beyond\u003c/em>.\u003c/p>\n\u003cp>“Jackie McLean opened up a whole world to me, and during those years in New York I was running into all these players and recording all the time,” Hutcherson told me in an interview several years ago. “It seemed like everybody had an original sound. Everybody was writing music and the world was going crazy. It seemed like everywhere you went there was just unbelievable things, the war, riots, assassinations, and the music was definitely a reflection of everything that was going on.”\u003c/p>\n\u003cfigure id=\"attachment_11941706\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hutchersondialogue-600x600.jpg\" alt=\"Bobby Hutcherson's 'Dialogue.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11941706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutcherson’s ‘Dialogue.’\u003c/figcaption>\u003c/figure>\n\u003cp>During his 13 years with Blue Note — a tenure exceeded only by pianist/composer Horace Silver — Hutcherson recorded a series of classic albums under his own name, including \u003cem>Dialogue\u003c/em>, \u003cem>Components\u003c/em>, \u003cem>Medina\u003c/em>, and \u003cem>Stick Up!\u003c/em> He had arrived in New York City in 1962 with a band led by Al Grey and Billy Mitchell and ended up driving a cab when the group broke up. He credited his fear of returning home to Los Angeles as a failure with pushing him to jump into the experimental-minded post-bop fray, where every recording seemed to introduce a new harmonic vocabulary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was going to do anything to not have to go back home and say that New York kicked my ass,” he said. “Luckily, what was in my favor was I was playing four mallets. And I was playing chords. It gave me something more than just sitting there playing melodies… We’re in Brooklyn at the Coronet, which is a real gangster-like club, and here we are playing some out stuff. The crowd used to love to hear Jackie get on the microphone and announce what we were playing. Jackie would say, okay, we are now going to play ‘Frankenstein’s Mama,’ and the crowd would go crazy… We had a great time.”\u003c/p>\n\u003cp>A New York drug bust in 1968 led him to move back to Los Angeles, where he played with the Gerald Wilson Orchestra and forged an enduring and creatively fecund partnership with tenor saxophonist Harold Land. Before long he moved up the Bay Area, but it was a minor hit on \u003cem>San Francisco\u003c/em>, his 1970 album with Land and pianist Joe Sample, that made Hutcherson a permanent resident. When he got the royalty check for the funk-driven track “Ummh” he decided to buy an acre of land on an undeveloped Montara hillside.\u003c/p>\n\u003cfigure id=\"attachment_11941709\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dolphy-600x600.jpg\" alt=\"Eric Dolphy's 'Out to Lunch,' on which Hutcherson played a key role.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11941709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Eric Dolphy’s ‘Out to Lunch,’ on which Hutcherson played a key role.\u003c/figcaption>\u003c/figure>\n\u003cp>“When ‘Ummh’ became a hit I thought, what am I going to do with this money?” Hutcherson recalled. “I came down here bought an acre of land for $10,000 and I built this house for $30,000. I’m 20 minutes from San Francisco, and about 20 minutes to the airport. For a long time I kept saying, ‘I think I made the right choice.’”\u003c/p>\n\u003cp>When Todd Barkan launched Keystone Korner in 1972, Hutcherson became one of the North Beach jazz club’s presiding spirits, performing regularly with masters such as trumpeters Woody Shaw and Freddie Hubbard, pianist Cedar Walton, and tenor saxophonist Joe Henderson (a fellow Bay Area resident). The latter years were well-documented on live recordings such as Hutcherson’s \u003cem>Farewell Keystone\u003c/em> (Evidence), and two \u003cem>Keystone Bop\u003c/em> volumes under Hubbard’s name on Milestone. Some 25 years later, Hutcherson was a founding member of the SFJAZZ Collective.\u003c/p>\n\u003cp>Like so many musicians, Barkan treasured Hutcherson’s music and soulful presence on the scene. “He’s been a guiding light to all of us who love and live by this music for many decades,” Barkan says. “One of the most swinging master musical storytellers of our age, Bobby’s music never fails to keep us in closer touch with the most tender and welcoming parts of our hearts. As he wrote on the wall in the Keystone Korner, ‘True love asks nothing in return.’”\u003c/p>\n\u003cfigure id=\"attachment_11941712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hutchersonheadon-1014x1180.jpg\" alt=\"Hutcherson on the cover of the 1971 LP, 'Head On.'\" width=\"640\" height=\"745\" class=\"size-large wp-image-11941712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-1014x1180.jpg 1014w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-400x466.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-768x894.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-960x1117.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon.jpg 1117w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hutcherson on the cover of the 1971 LP, ‘Head On.’\u003c/figcaption>\u003c/figure>\n\u003cp>Interviewing Hutcherson could be a challenge. He was a gifted raconteur whose stories often swerved in unanticipated directions (much like his solos). On stage he often played the genial trickster, standing in front of his vibes seemingly lost in thought, only to look up quickly and feign wide-eyed surprise at finding himself in front of an audience. A remarkably consistent performer, Hutcherson evolved into one of jazz’s greatest balladeers. But his greatest contribution may have been as a composer of dozens of extraordinary and often harmonically mysterious tunes.\u003c/p>\n\u003cp>Hutcherson credits drummer Joe Chambers, a noted composer and early New York collaborator, with encouraging him to start generating his own music as a vehicle for documenting creative evolution.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Joe Chambers told me that in order to complete your cycle you have to write, that way you can document what was going through your mind and where you were harmonically, theoretically, historically, to kind of show the things that you were thinking about, how you were feeling and the things you were working on,” Hutcherson said. “Are you working on a theory to create a puzzle, to be able to go in this side and get through the maze? Are you just looking for little situations, small motifs, little questions and answers? Are you looking for secondary melodies to come in, completely different from this but they will all add up? Then there’s the sound of the elements, the sound of wind, the sound of rain, how the notes and melodies are contained in a sunny day or a rainy day.”\u003c/p>\n\n",
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"excerpt": "The Blue Note-era improviser and composer who influenced generations of musicians has died after a protracted struggle with emphysema.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vibraphonist Bobby Hutcherson, an NEA Jazz Master who influenced generations of musicians as an improviser and composer, \u003ca href=\"https://twitter.com/SFJAZZ/status/765401203656097793\" target=\"_blank\" rel=\"noopener\">died Monday at the age of 75\u003c/a> after a protracted struggle with emphysema.\u003c/p>\n\u003cp>A longtime resident of the seaside hamlet Montara, about 20 miles south of San Francisco, Hutcherson grew up in Pasadena and made a name for himself in the early 1960s as a creative catalyst for a cadre of brilliant young musicians associated with the Blue Note label. As a composer, bandleader and recording artist, Hutcherson created a body of work that ranks among the most profound and widely celebrated in an often divisive era marked by a proliferation jazz aesthetics.\u003c/p>\n\u003cfigure id=\"attachment_11941707\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008.jpg\" alt=\"Bobby Hutcherson.\" width=\"800\" height=\"1007\" class=\"size-full wp-image-11941707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-400x504.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-477x600.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bobby-hutcherson-2008-768x967.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutcherson.\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced to the Blue Note fold by veteran alto saxophonist Jackie McLean, Hutcherson quickly joined a loose confederation of creatively ambitious New York musicians inspired by the rhythmic and harmonic innovations of free jazz patriarch Ornette Coleman but dedicated to experimenting with compositional form. With his thick, ringing four-mallet chords and exquisitely chiseled melodic lines, he played a defining role on several dozen era-defining albums, such as Eric Dolphy’s \u003cem>Out To Lunch\u003c/em>, Lee Morgan’s \u003cem>The Procrastinator\u003c/em>, McCoy Tyner’s \u003cem>Time For Tyner\u003c/em>, Joe Henderson’s \u003cem>Mode For Joe\u003c/em>, Tony Williams’ \u003cem>Life Time\u003c/em>, Grachan Moncur III’s \u003cem>Evolution\u003c/em>, and McLean’s \u003cem>One Step Beyond\u003c/em>.\u003c/p>\n\u003cp>“Jackie McLean opened up a whole world to me, and during those years in New York I was running into all these players and recording all the time,” Hutcherson told me in an interview several years ago. “It seemed like everybody had an original sound. Everybody was writing music and the world was going crazy. It seemed like everywhere you went there was just unbelievable things, the war, riots, assassinations, and the music was definitely a reflection of everything that was going on.”\u003c/p>\n\u003cfigure id=\"attachment_11941706\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hutchersondialogue-600x600.jpg\" alt=\"Bobby Hutcherson's 'Dialogue.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11941706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersondialogue.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Hutcherson’s ‘Dialogue.’\u003c/figcaption>\u003c/figure>\n\u003cp>During his 13 years with Blue Note — a tenure exceeded only by pianist/composer Horace Silver — Hutcherson recorded a series of classic albums under his own name, including \u003cem>Dialogue\u003c/em>, \u003cem>Components\u003c/em>, \u003cem>Medina\u003c/em>, and \u003cem>Stick Up!\u003c/em> He had arrived in New York City in 1962 with a band led by Al Grey and Billy Mitchell and ended up driving a cab when the group broke up. He credited his fear of returning home to Los Angeles as a failure with pushing him to jump into the experimental-minded post-bop fray, where every recording seemed to introduce a new harmonic vocabulary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was going to do anything to not have to go back home and say that New York kicked my ass,” he said. “Luckily, what was in my favor was I was playing four mallets. And I was playing chords. It gave me something more than just sitting there playing melodies… We’re in Brooklyn at the Coronet, which is a real gangster-like club, and here we are playing some out stuff. The crowd used to love to hear Jackie get on the microphone and announce what we were playing. Jackie would say, okay, we are now going to play ‘Frankenstein’s Mama,’ and the crowd would go crazy… We had a great time.”\u003c/p>\n\u003cp>A New York drug bust in 1968 led him to move back to Los Angeles, where he played with the Gerald Wilson Orchestra and forged an enduring and creatively fecund partnership with tenor saxophonist Harold Land. Before long he moved up the Bay Area, but it was a minor hit on \u003cem>San Francisco\u003c/em>, his 1970 album with Land and pianist Joe Sample, that made Hutcherson a permanent resident. When he got the royalty check for the funk-driven track “Ummh” he decided to buy an acre of land on an undeveloped Montara hillside.\u003c/p>\n\u003cfigure id=\"attachment_11941709\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dolphy-600x600.jpg\" alt=\"Eric Dolphy's 'Out to Lunch,' on which Hutcherson played a key role.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11941709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dolphy.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Eric Dolphy’s ‘Out to Lunch,’ on which Hutcherson played a key role.\u003c/figcaption>\u003c/figure>\n\u003cp>“When ‘Ummh’ became a hit I thought, what am I going to do with this money?” Hutcherson recalled. “I came down here bought an acre of land for $10,000 and I built this house for $30,000. I’m 20 minutes from San Francisco, and about 20 minutes to the airport. For a long time I kept saying, ‘I think I made the right choice.’”\u003c/p>\n\u003cp>When Todd Barkan launched Keystone Korner in 1972, Hutcherson became one of the North Beach jazz club’s presiding spirits, performing regularly with masters such as trumpeters Woody Shaw and Freddie Hubbard, pianist Cedar Walton, and tenor saxophonist Joe Henderson (a fellow Bay Area resident). The latter years were well-documented on live recordings such as Hutcherson’s \u003cem>Farewell Keystone\u003c/em> (Evidence), and two \u003cem>Keystone Bop\u003c/em> volumes under Hubbard’s name on Milestone. Some 25 years later, Hutcherson was a founding member of the SFJAZZ Collective.\u003c/p>\n\u003cp>Like so many musicians, Barkan treasured Hutcherson’s music and soulful presence on the scene. “He’s been a guiding light to all of us who love and live by this music for many decades,” Barkan says. “One of the most swinging master musical storytellers of our age, Bobby’s music never fails to keep us in closer touch with the most tender and welcoming parts of our hearts. As he wrote on the wall in the Keystone Korner, ‘True love asks nothing in return.’”\u003c/p>\n\u003cfigure id=\"attachment_11941712\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/hutchersonheadon-1014x1180.jpg\" alt=\"Hutcherson on the cover of the 1971 LP, 'Head On.'\" width=\"640\" height=\"745\" class=\"size-large wp-image-11941712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-1014x1180.jpg 1014w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-400x466.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-516x600.jpg 516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-768x894.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon-960x1117.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/hutchersonheadon.jpg 1117w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hutcherson on the cover of the 1971 LP, ‘Head On.’\u003c/figcaption>\u003c/figure>\n\u003cp>Interviewing Hutcherson could be a challenge. He was a gifted raconteur whose stories often swerved in unanticipated directions (much like his solos). On stage he often played the genial trickster, standing in front of his vibes seemingly lost in thought, only to look up quickly and feign wide-eyed surprise at finding himself in front of an audience. A remarkably consistent performer, Hutcherson evolved into one of jazz’s greatest balladeers. But his greatest contribution may have been as a composer of dozens of extraordinary and often harmonically mysterious tunes.\u003c/p>\n\u003cp>Hutcherson credits drummer Joe Chambers, a noted composer and early New York collaborator, with encouraging him to start generating his own music as a vehicle for documenting creative evolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Joe Chambers told me that in order to complete your cycle you have to write, that way you can document what was going through your mind and where you were harmonically, theoretically, historically, to kind of show the things that you were thinking about, how you were feeling and the things you were working on,” Hutcherson said. “Are you working on a theory to create a puzzle, to be able to go in this side and get through the maze? Are you just looking for little situations, small motifs, little questions and answers? Are you looking for secondary melodies to come in, completely different from this but they will all add up? Then there’s the sound of the elements, the sound of wind, the sound of rain, how the notes and melodies are contained in a sunny day or a rainy day.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Honors Tony Bennett, a New Yorker, for Losing His Heart Here",
"headTitle": "San Francisco Honors Tony Bennett, a New Yorker, for Losing His Heart Here | KQED",
"content": "\u003cp>San Francisco city officials will unveil a statue on Friday, Aug. 19, for a lifelong New Yorker. And I can’t imagine any San Franciscans complaining about honoring this particular outsider. The eight foot bronze monument depicts Tony Bennett, the man who made “I Left My Heart in San Francisco” an international hit.\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r6DUwMnDxEs\u003c/p>\n\u003cp>“He’s been our ambassador around the world,” says San Francisco’s chief of protocol, Charlotte Mailliard Shultz.\u003c/p>\n\u003cp>Shultz and I talked a few days ago in the lobby of the Fairmont Hotel high on Nob Hill, where Bennett first sang the song at the \u003ca href=\"http://www.bayareacabaret.org/About-Us.html\" target=\"_blank\" rel=\"noopener\">Venetian Room \u003c/a>in 1961.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shultz helped raise the private funds to build the statue, which she says was a breeze because of how “I Left My Heart…” made the city sound like so romantic.\u003c/p>\n\u003cp>“That song resonates with people and they want to come here,” Shultz said. “And people who are from here say that’s my town. That’s my city.”\u003c/p>\n\u003cp>Bennett recorded the song in early 1962, over the objections of CBS boss Mitch Miller, as the B side on a 45. “I Left My Heart…” reached #19 on the Billboard Hot 100, and became Bennett’s trademark.\u003c/p>\n\u003cp>“I had hits before that song, and certainly a lot of hits afterward,” he told reporter \u003ca href=\"http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656\" target=\"_blank\" rel=\"noopener\">Bill Christine in a recent SF Weekly interview\u003c/a>, “But I never had a hit like that one. That song gave me international recognition.”\u003c/p>\n\u003cp>San Franciscans George Cory and Douglass Cross wrote “I Left My Heart…” as an act of “pure nostalgia” in 1953, while failing to make it as songwriters in New York City. The song would be their only big hit, but what a hit it was: the Recording Industry Association of America ranked “I Left My Heart…” 23rd on its list of the most historically significant Songs of the 20th Century.\u003c/p>\n\u003cp>San Francisco has honored Bennett before. The song is one of San Francisco’s two official anthems, and Bennett was given the key to the city in 2012, on the recording’s 50th anniversary. But with Bennett turning 90 this month, Schultz says she felt some urgency to do more.\u003c/p>\n\u003cp>“Because I think SF’s have a love for him, and why wait till he’s gone.” So she picked up the phone and called a friend, \u003ca href=\"http://brucewolfe.com/\" target=\"_blank\" rel=\"noopener\">sculptor Bruce Wolfe.\u003c/a>\u003c/p>\n\u003cp>“I had a month to do the whole statue, you know.” Wolfe told me a few days as we talked in his Piedmont studio. “So I did it in wet clay, as he sat here.\u003c/p>\n\u003cfigure id=\"attachment_11936155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11936155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg\" alt=\"Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett's head. To Wolfe's right is a model for a bust he's working on of former mayor Gavin Newsom.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1920x1300.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett’s head. To Wolfe’s right is a model for a bust he’s working on of former mayor Gavin Newsom. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see the armature over there,” Wolfe went on, “It’s rebar, and I had 1500 pounds of clay on that sucker by the time it was done. That’s a lot of clay.”\u003c/p>\n\u003cp>Wolfe has given Bennett a characteristic half smile, arms outstretched like he’s finishing a song.\u003c/p>\n\u003cp>“What I tried to get from him,” Wolfe said, “was a feeling of the graciousness… The love of singing… that look he has, when he comes and belts something out. Wow. He puts his heart into it.”\u003c/p>\n\u003cp>Bennett will appear, and maybe sing, at three events in his honor late this week: the unveiling of the bronze statue at noon in front of the Fairmont, at AT&T Park that night, and at a fundraiser Saturday for the benefit of emergency pediatric care at Zuckerberg San Francisco General Hospital.\u003c/p>\n\u003cp>\u003cb>Here are the deceptively simple lyrics to “I Left My Heart in San Francisco”:\u003c/b>\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I left my heart in San Francisco\u003c/em>\u003cbr>\n\u003cem>High on a hill, it calls to me\u003c/em>\u003cbr>\n\u003cem>To be where little cable cars climb halfway to the stars\u003c/em>\u003cbr>\n\u003cem>The morning fog may chill the air, I don’t care\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“My love waits there in San Francisco\u003c/em>\u003cbr>\n\u003cem>Above the blue and windy sea\u003c/em>\u003cbr>\n\u003cem>“When I come home to you, San Francisco\u003c/em>\u003cbr>\n\u003cem> Your golden sun will shine for me.”\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will unveil a statue on Friday, Aug. 19, for a lifelong New Yorker. And I can’t imagine any San Franciscans complaining about honoring this particular outsider. The eight foot bronze monument depicts Tony Bennett, the man who made “I Left My Heart in San Francisco” an international hit.\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay”\u003c/em>\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/r6DUwMnDxEs'\n title='//www.youtube.com/embed/r6DUwMnDxEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s been our ambassador around the world,” says San Francisco’s chief of protocol, Charlotte Mailliard Shultz.\u003c/p>\n\u003cp>Shultz and I talked a few days ago in the lobby of the Fairmont Hotel high on Nob Hill, where Bennett first sang the song at the \u003ca href=\"http://www.bayareacabaret.org/About-Us.html\" target=\"_blank\" rel=\"noopener\">Venetian Room \u003c/a>in 1961.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shultz helped raise the private funds to build the statue, which she says was a breeze because of how “I Left My Heart…” made the city sound like so romantic.\u003c/p>\n\u003cp>“That song resonates with people and they want to come here,” Shultz said. “And people who are from here say that’s my town. That’s my city.”\u003c/p>\n\u003cp>Bennett recorded the song in early 1962, over the objections of CBS boss Mitch Miller, as the B side on a 45. “I Left My Heart…” reached #19 on the Billboard Hot 100, and became Bennett’s trademark.\u003c/p>\n\u003cp>“I had hits before that song, and certainly a lot of hits afterward,” he told reporter \u003ca href=\"http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656\" target=\"_blank\" rel=\"noopener\">Bill Christine in a recent SF Weekly interview\u003c/a>, “But I never had a hit like that one. That song gave me international recognition.”\u003c/p>\n\u003cp>San Franciscans George Cory and Douglass Cross wrote “I Left My Heart…” as an act of “pure nostalgia” in 1953, while failing to make it as songwriters in New York City. The song would be their only big hit, but what a hit it was: the Recording Industry Association of America ranked “I Left My Heart…” 23rd on its list of the most historically significant Songs of the 20th Century.\u003c/p>\n\u003cp>San Francisco has honored Bennett before. The song is one of San Francisco’s two official anthems, and Bennett was given the key to the city in 2012, on the recording’s 50th anniversary. But with Bennett turning 90 this month, Schultz says she felt some urgency to do more.\u003c/p>\n\u003cp>“Because I think SF’s have a love for him, and why wait till he’s gone.” So she picked up the phone and called a friend, \u003ca href=\"http://brucewolfe.com/\" target=\"_blank\" rel=\"noopener\">sculptor Bruce Wolfe.\u003c/a>\u003c/p>\n\u003cp>“I had a month to do the whole statue, you know.” Wolfe told me a few days as we talked in his Piedmont studio. “So I did it in wet clay, as he sat here.\u003c/p>\n\u003cfigure id=\"attachment_11936155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11936155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg\" alt=\"Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett's head. To Wolfe's right is a model for a bust he's working on of former mayor Gavin Newsom.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1920x1300.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett’s head. To Wolfe’s right is a model for a bust he’s working on of former mayor Gavin Newsom. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see the armature over there,” Wolfe went on, “It’s rebar, and I had 1500 pounds of clay on that sucker by the time it was done. That’s a lot of clay.”\u003c/p>\n\u003cp>Wolfe has given Bennett a characteristic half smile, arms outstretched like he’s finishing a song.\u003c/p>\n\u003cp>“What I tried to get from him,” Wolfe said, “was a feeling of the graciousness… The love of singing… that look he has, when he comes and belts something out. Wow. He puts his heart into it.”\u003c/p>\n\u003cp>Bennett will appear, and maybe sing, at three events in his honor late this week: the unveiling of the bronze statue at noon in front of the Fairmont, at AT&T Park that night, and at a fundraiser Saturday for the benefit of emergency pediatric care at Zuckerberg San Francisco General Hospital.\u003c/p>\n\u003cp>\u003cb>Here are the deceptively simple lyrics to “I Left My Heart in San Francisco”:\u003c/b>\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I left my heart in San Francisco\u003c/em>\u003cbr>\n\u003cem>High on a hill, it calls to me\u003c/em>\u003cbr>\n\u003cem>To be where little cable cars climb halfway to the stars\u003c/em>\u003cbr>\n\u003cem>The morning fog may chill the air, I don’t care\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“My love waits there in San Francisco\u003c/em>\u003cbr>\n\u003cem>Above the blue and windy sea\u003c/em>\u003cbr>\n\u003cem>“When I come home to you, San Francisco\u003c/em>\u003cbr>\n\u003cem> Your golden sun will shine for me.”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Ukraine, DakhaBrakha Revisits Pro-Soviet Film 'Earth' With New Score",
"headTitle": "From Ukraine, DakhaBrakha Revisits Pro-Soviet Film ‘Earth’ With New Score | KQED",
"content": "\u003cp>Just because a film is a game-changing masterpiece doesn’t mean its legacy is uncomplicated. Think of \u003ca href=\"https://en.wikipedia.org/wiki/D._W._Griffith\">D.W. Griffith’s\u003c/a> 1915 white supremacist epic \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>, which both glorified the role of the Ku Klux Klan during Reconstruction and introduced a panoply of new narrative devices to cinema. Or \u003ca href=\"https://en.wikipedia.org/wiki/Leni_Riefenstahl\">Leni Riefenstahl\u003c/a> turning Hitler into a God-like figure descending from the clouds in her documentary \u003ca href=\"https://www.youtube.com/watch?v=GHs2coAzLJ8\">Triumph of the Will\u003c/a>, glorifying the Nazi’s 1934 Nazi Party rally in Nuremberg.\u003c/p>\n\u003cp>Created to celebrate Stalin’s collectivization project, which pushed Ukrainian peasants off their land into huge communal farms, \u003ca href=\"https://en.wikipedia.org/wiki/Alexander_Dovzhenko\">Alexander Dovzhenko\u003c/a>’s classic 1930 silent film \u003ca href=\"https://en.wikipedia.org/wiki/Earth_(1930_film)\">\u003cem>Earth\u003c/em>\u003c/a> isn’t quite as notorious. But this landmark of Soviet cinema, the third of the director’s seminal “Ukraine trilogy,” inhabits unsettled ground where propaganda and art contest for meaning. \u003ca href=\"https://www.youtube.com/watch?v=hsNKSbTNd5I\">DakhaBrakha\u003c/a>, the amazing Ukrainian ensemble that reverently reinvents hair-raising polyphonic Ukrainian folk songs, perform an original live score for \u003cem>Earth\u003c/em> on Friday, Aug. 19, at the \u003ca href=\"https://www.sfjazz.org/events/sessions/0819/dhakabraka-earth\">SFJAZZ Center\u003c/a>. The quartet also perform at 3pm on Sunday, Aug. 14 at \u003ca href=\"https://summerfest.sanjosejazz.org/artists/dakhabrakha\">San Jose Jazz’s\u003c/a> \u003ca href=\"https://summerfest.sanjosejazz.org/artists/dakhabrakha\">Summer Fest\u003c/a>.\u003c/p>\n\u003cp>Commissioned to create the new score by the national film archive, Kiev’s National Oleksandr Dovzhenko Centre, DakhaBrakha tackled the film’s difficult legacy head on. Viewed today, it’s impossible not to think of a way of life about to be erased, a reality evoked by their percussion-driven incantations.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11920441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Earth-425x600.jpg\" alt=\"Earth\" width=\"425\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-768x1085.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-835x1180.jpg 835w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth.jpg 900w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>“Of course it’s controversial,” says DakhaBrakha multi-instrumentalist and vocalist Marko Halanevych, speaking through an interpreter over the phone. “The film was created to show the great Soviet way of life, but we know all the events in the next year. It’s very complicated to divide the art and the moment. The film is a masterpiece created by a genius. But we know the history now and in our music we tried to see and feel this like modern people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The history is known in Ukraine as the \u003ca href=\"http://www.bbc.com/news/world-europe-25058256\">Holodomor\u003c/a>. The famine inflicted on the Ukrainian countryside, which had been the breadbasket of the Russian Empire, left millions dead. Historians still argue over whether the campaign should be \u003ca href=\"https://en.wikipedia.org/wiki/Holodomor#Genocide_question\">characterized as genocide\u003c/a>, but the death toll ranks among the 20th century’s worst atrocities, a reality covered up at the time by the Soviet state and its Western champions (like \u003ca href=\"https://en.wikipedia.org/wiki/Walter_Duranty\">Walter Duranty\u003c/a>, the Moscow bureau chief for the \u003cem>New York Times\u003c/em> who infamously earned a Pulitzer Prize for his dispatches denying that millions were dying from starvation).\u003c/p>\n\u003cp>While ostensibly a celebration of collectivization, \u003cem>Earth\u003c/em> powerfully evokes the love of the land and the vitality of the Ukrainian countryside. Dovzhenko’s ability to capture the humanity of the “kulaks” — peasants with some means who were demonized by the Soviet state — led to \u003cem>Earth\u003c/em> being censured shortly after its release. For DakhaBrakha’s Halanevych, Dovzhenko “described the life and remarkable personality of these villagers so well that his genius succeeded and his propaganda failed. The vision was so powerful, you see these great people with great faces, and can feel them even now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11920443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Earth-film.jpg\" alt=\"Earth film\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>DakhaBrakha first gained attention in North America about three years ago with an astounding sound and outfits out of some fantastical peasant celebration. Wearing towering black fur hats and white wedding dresses, the group’s three women — Olena Tsybulska, Irnya Kovalenko and Nina Harenetsha — looked almost as striking as they sounded with their keening vocals and multi-instrumental arsenal (including cello, hurdy gurdy, piano and sundry percussion implements). Having founded the group in 2004, they were quickly joined by Halanevych on vocals, tabla, didgeridoo, accordion, and trombone.\u003c/p>\n\u003cp>When DakhaBrakha perform the score for \u003cem>Earth\u003c/em>, the group wears more sedate, dark outfits so as not to compete with the film. And they recently traded in the wedding dresses for new costumes by Ukrainian designer Olga Navrotska, inspired by their animated video for “Karpatsky Rap,” drawn by Sashko Danylenko.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CodwYYCUumw\u003c/p>\n\u003cp>Working together to create the score, DakhaBrakha combined existing repertoire and new arrangements, which like all of their music stems from “a traditional source recorded in a Ukrainian village,” Halanevych says. “Some songs are changed very much with unusual arrangements, and some not so much.”\u003c/p>\n\u003cp>The band’s international success means that they spend about 70 percent of their time on the road these days. But their thoughts are never far from home, where a Russian-backed insurrection in eastern Ukraine continues to destabilize the country, to say nothing of the occupation of Crimea. At the end of DakhaBrakha’s concerts, they often plead for audiences to pay attention to the fate of their nation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every day we read about people getting killed,” Halanevych says. “It’s really important to have support from civilized countries. Everybody wants to stop the war, to stop Putin and Russia, so we can develop the country and democracy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just because a film is a game-changing masterpiece doesn’t mean its legacy is uncomplicated. Think of \u003ca href=\"https://en.wikipedia.org/wiki/D._W._Griffith\">D.W. Griffith’s\u003c/a> 1915 white supremacist epic \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>, which both glorified the role of the Ku Klux Klan during Reconstruction and introduced a panoply of new narrative devices to cinema. Or \u003ca href=\"https://en.wikipedia.org/wiki/Leni_Riefenstahl\">Leni Riefenstahl\u003c/a> turning Hitler into a God-like figure descending from the clouds in her documentary \u003ca href=\"https://www.youtube.com/watch?v=GHs2coAzLJ8\">Triumph of the Will\u003c/a>, glorifying the Nazi’s 1934 Nazi Party rally in Nuremberg.\u003c/p>\n\u003cp>Created to celebrate Stalin’s collectivization project, which pushed Ukrainian peasants off their land into huge communal farms, \u003ca href=\"https://en.wikipedia.org/wiki/Alexander_Dovzhenko\">Alexander Dovzhenko\u003c/a>’s classic 1930 silent film \u003ca href=\"https://en.wikipedia.org/wiki/Earth_(1930_film)\">\u003cem>Earth\u003c/em>\u003c/a> isn’t quite as notorious. But this landmark of Soviet cinema, the third of the director’s seminal “Ukraine trilogy,” inhabits unsettled ground where propaganda and art contest for meaning. \u003ca href=\"https://www.youtube.com/watch?v=hsNKSbTNd5I\">DakhaBrakha\u003c/a>, the amazing Ukrainian ensemble that reverently reinvents hair-raising polyphonic Ukrainian folk songs, perform an original live score for \u003cem>Earth\u003c/em> on Friday, Aug. 19, at the \u003ca href=\"https://www.sfjazz.org/events/sessions/0819/dhakabraka-earth\">SFJAZZ Center\u003c/a>. The quartet also perform at 3pm on Sunday, Aug. 14 at \u003ca href=\"https://summerfest.sanjosejazz.org/artists/dakhabrakha\">San Jose Jazz’s\u003c/a> \u003ca href=\"https://summerfest.sanjosejazz.org/artists/dakhabrakha\">Summer Fest\u003c/a>.\u003c/p>\n\u003cp>Commissioned to create the new score by the national film archive, Kiev’s National Oleksandr Dovzhenko Centre, DakhaBrakha tackled the film’s difficult legacy head on. Viewed today, it’s impossible not to think of a way of life about to be erased, a reality evoked by their percussion-driven incantations.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11920441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Earth-425x600.jpg\" alt=\"Earth\" width=\"425\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-400x565.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-768x1085.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-835x1180.jpg 835w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth.jpg 900w\" sizes=\"(max-width: 425px) 100vw, 425px\">\u003c/p>\n\u003cp>“Of course it’s controversial,” says DakhaBrakha multi-instrumentalist and vocalist Marko Halanevych, speaking through an interpreter over the phone. “The film was created to show the great Soviet way of life, but we know all the events in the next year. It’s very complicated to divide the art and the moment. The film is a masterpiece created by a genius. But we know the history now and in our music we tried to see and feel this like modern people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The history is known in Ukraine as the \u003ca href=\"http://www.bbc.com/news/world-europe-25058256\">Holodomor\u003c/a>. The famine inflicted on the Ukrainian countryside, which had been the breadbasket of the Russian Empire, left millions dead. Historians still argue over whether the campaign should be \u003ca href=\"https://en.wikipedia.org/wiki/Holodomor#Genocide_question\">characterized as genocide\u003c/a>, but the death toll ranks among the 20th century’s worst atrocities, a reality covered up at the time by the Soviet state and its Western champions (like \u003ca href=\"https://en.wikipedia.org/wiki/Walter_Duranty\">Walter Duranty\u003c/a>, the Moscow bureau chief for the \u003cem>New York Times\u003c/em> who infamously earned a Pulitzer Prize for his dispatches denying that millions were dying from starvation).\u003c/p>\n\u003cp>While ostensibly a celebration of collectivization, \u003cem>Earth\u003c/em> powerfully evokes the love of the land and the vitality of the Ukrainian countryside. Dovzhenko’s ability to capture the humanity of the “kulaks” — peasants with some means who were demonized by the Soviet state — led to \u003cem>Earth\u003c/em> being censured shortly after its release. For DakhaBrakha’s Halanevych, Dovzhenko “described the life and remarkable personality of these villagers so well that his genius succeeded and his propaganda failed. The vision was so powerful, you see these great people with great faces, and can feel them even now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11920443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Earth-film.jpg\" alt=\"Earth film\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Earth-film-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>DakhaBrakha first gained attention in North America about three years ago with an astounding sound and outfits out of some fantastical peasant celebration. Wearing towering black fur hats and white wedding dresses, the group’s three women — Olena Tsybulska, Irnya Kovalenko and Nina Harenetsha — looked almost as striking as they sounded with their keening vocals and multi-instrumental arsenal (including cello, hurdy gurdy, piano and sundry percussion implements). Having founded the group in 2004, they were quickly joined by Halanevych on vocals, tabla, didgeridoo, accordion, and trombone.\u003c/p>\n\u003cp>When DakhaBrakha perform the score for \u003cem>Earth\u003c/em>, the group wears more sedate, dark outfits so as not to compete with the film. And they recently traded in the wedding dresses for new costumes by Ukrainian designer Olga Navrotska, inspired by their animated video for “Karpatsky Rap,” drawn by Sashko Danylenko.\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/CodwYYCUumw'\n title='//www.youtube.com/embed/CodwYYCUumw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Working together to create the score, DakhaBrakha combined existing repertoire and new arrangements, which like all of their music stems from “a traditional source recorded in a Ukrainian village,” Halanevych says. “Some songs are changed very much with unusual arrangements, and some not so much.”\u003c/p>\n\u003cp>The band’s international success means that they spend about 70 percent of their time on the road these days. But their thoughts are never far from home, where a Russian-backed insurrection in eastern Ukraine continues to destabilize the country, to say nothing of the occupation of Crimea. At the end of DakhaBrakha’s concerts, they often plead for audiences to pay attention to the fate of their nation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every day we read about people getting killed,” Halanevych says. “It’s really important to have support from civilized countries. Everybody wants to stop the war, to stop Putin and Russia, so we can develop the country and democracy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "President Obama Drops Playlists for All Your Daytime and Nighttime (a.k.a. Sexytime) Needs",
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"content": "\u003cp>[contextly_sidebar id=\"yWTX95LgTZatu8GzE1bDXnQ92ux5OScf\"]After eight years of stress and BS, President Obama has earned every right to revel in some deep senioritis right about now. I wouldn't blame him for kicking back and face swapping with Biden on Snapchat all day. But Obama, ever the overachiever, decided to drop not one, but two playlists of his favorite songs instead. They are split between songs he listens to during the day (while stuck at his desk scrolling endlessly through Tumblr) and the ones he listens to at night (while... well, you know).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png\">\u003cimg class=\"aligncenter wp-image-33228 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png\" alt=\"obama playlist\" width=\"1195\" height=\"597\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png 1195w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-400x200.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-800x400.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-768x384.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-1180x590.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-960x480.png 960w\" sizes=\"(max-width: 1195px) 100vw, 1195px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png\">\u003cimg class=\"aligncenter size-full wp-image-33229\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png\" alt=\"obama nighttime playlist\" width=\"1195\" height=\"597\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png 1195w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-400x200.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-800x400.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-768x384.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-1180x590.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-960x480.png 960w\" sizes=\"(max-width: 1195px) 100vw, 1195px\">\u003c/a>\u003c/p>\n\u003cp>Enjoy these Oval Office approved jams while you can, 'cause I don't have much confidence that Hillary or Donald will have better musical taste than this:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Athewhitehouse%3Aplaylist%3A2Zve7PqFSlGl0ojgGnhFTm\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Athewhitehouse%3Aplaylist%3A0BczR7bDaoKvn3MGPxS9Lx\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-33230\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy-1.gif\" alt=\"obama headphones gif\" width=\"245\" height=\"160\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>After eight years of stress and BS, President Obama has earned every right to revel in some deep senioritis right about now. I wouldn't blame him for kicking back and face swapping with Biden on Snapchat all day. But Obama, ever the overachiever, decided to drop not one, but two playlists of his favorite songs instead. They are split between songs he listens to during the day (while stuck at his desk scrolling endlessly through Tumblr) and the ones he listens to at night (while... well, you know).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png\">\u003cimg class=\"aligncenter wp-image-33228 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png\" alt=\"obama playlist\" width=\"1195\" height=\"597\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM.png 1195w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-400x200.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-800x400.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-768x384.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-1180x590.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.08.56-PM-960x480.png 960w\" sizes=\"(max-width: 1195px) 100vw, 1195px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png\">\u003cimg class=\"aligncenter size-full wp-image-33229\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png\" alt=\"obama nighttime playlist\" width=\"1195\" height=\"597\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM.png 1195w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-400x200.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-800x400.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-768x384.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-1180x590.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Screen-Shot-2016-08-12-at-12.09.10-PM-960x480.png 960w\" sizes=\"(max-width: 1195px) 100vw, 1195px\">\u003c/a>\u003c/p>\n\u003cp>Enjoy these Oval Office approved jams while you can, 'cause I don't have much confidence that Hillary or Donald will have better musical taste than this:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Athewhitehouse%3Aplaylist%3A2Zve7PqFSlGl0ojgGnhFTm\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Picks: Jazz in San Jose, Fighting Slavery with Social Media, and Wiser Hip-Hop",
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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>https://soundcloud.com/kqed/the-do-list-san-jose-jazz-fighting-slavery-through-social-media-hip-hop-maturity\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QzPJJLXnBcQ\u003c/p>\n\u003cp>\u003cstrong>Aug. 12-14:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/2016-lineup\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summerfest\u003c/a> is packing 13 indoor and outdoor stages over the next three days, so maybe you can’t go wrong. But we’re most excited about shows by San Francisco singer Tiffany Austin, and Oakland’s Terrie Odabi (sounding terrific last week at Cafe Stritch), guitarist Will Bernard, drummer Allison Miller, Red Baraat, not to mention Chico Freeman making a comeback. Plus there’s sax man Miguel Zenon (the SFJazz Collective), and, to put you in an Olympian Latin jazz mood, Sergio Mendes and Brazil 2016. Details \u003ca href=\"https://summerfest.sanjosejazz.org/2016-lineup\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iAPr6qUTufg\u003c/p>\n\u003cp>\u003cstrong>Aug. 18:\u003c/strong> Here’s another killer show for the South Bay, \u003ca href=\"http://ww2.kqed.org/arts/2016/07/26/the-do-list-live-in-san-jose/\" target=\"_blank\" rel=\"noopener\">The Do List Live in San Jose\u003c/a>. I’ll be with my co-host David Wiegand, South Bay Arts Reporter Rachael Myrow, and our producer Suzie Racho in the Corinthian Room at 7pm Thursday. And while we love to talk, we’ll spend most of the evening listening to our talented guests: bluesman \u003ca href=\"http://www.akikumar.com/home\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a> playing songs from his new album \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">\u003cem>Aki Goes to Bollywood\u003c/em> \u003c/a>(he’s also at San Jose Jazz Summerfest), comedian Nato Green, and an excerpt from a new play getting its premiere at \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">Theatreworks New Works Festival\u003c/a>. Details for this Cheap Thrill show ($10 including a drink) at San Jose’s Corinthian Room are \u003ca href=\"http://ww2.kqed.org/arts/2016/07/26/the-do-list-live-in-san-jose/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11924414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11924414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-800x546.jpg\" alt=\"Min Kahng's 'The Four Immigrants: An American Musical Manga' will be presented at the 2016 New Works Festival.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Min Kahng’s ‘The Four Immigrants: An American\u003cbr>Musical Manga’ will be presented at the 2016 New Works Festival. \u003ccite>(Photo: Ben Krantz/Theateworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 12-21\u003c/strong>: \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley New Works Festival \u003c/a>has developed a number of thoughtful crowd-pleasers, including the just closed \u003cem>Confederates.\u003c/em> This year’s edition look just as promising: a new play about World War I by Rajiv Joseph (he wrote \u003cem>Bengal Tiger at the Baghdad Zoo), Min Kahng’s The Four Immigrants: An American Musical Manga, and more. \u003c/em>For\u003cem> The Do List Live in San Jose, \u003c/em>we’ll feature an excerpt from a theatrical adaptation of Ray Bradbury’s old school fantasy novel \u003cem>Something Wicked This Way Comes.\u003c/em> Details for the New Works Festival are \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11921305\" class=\"wp-caption aligncenter\" style=\"max-width: 484px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11921305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-484x600.jpg\" alt='Sojourner Truth always captioned her cartes de visite \"I sell the shadow to support the substance\" to show her ownership of herself and her image' width=\"484\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-484x600.jpg 484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-952x1180.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-1920x2380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-1180x1463.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-960x1190.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413.jpg 1936w\" sizes=\"(max-width: 484px) 100vw, 484px\">\u003cfigcaption class=\"wp-caption-text\">Sojourner Truth always captioned her cartes de visite “I sell the shadow to support the substance” to show her ownership of herself and her image \u003ccite>(Photo: Courtesy of Berkeley Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Oct. 23:\u003c/strong> Sojourner Truth was an escaped slave, abolitionist and women’s rights activist in the mid-19th century; and she a master of the social media of the time. Those were the square photographs called cartes de visite, which Truth used to support herself and spread her message (see above). She went to court three times to claim her legal rights to her own image. This show focuses on the scholarship of Cal Professor Darcy Grimaldo Grigsby, showing the way paper became a tool for political messages and federal power in the 19th century. Details for the Berkeley Art Museum show are \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zw6Ph0U3yKc\u003c/p>\n\u003cp>\u003cstrong>Through Aug. 14\u003c/strong>: It seems impossible that there are any great premieres left in Baroque music (1600-1750), the period during which musicians like Bach and Pachelbel thrived. Yet \u003ca href=\"http://americanbach.org/index.htm\" target=\"_blank\" rel=\"noopener\">The American Bach Soloists Festival\u003c/a> are promising the first North American performance of \u003cem>Parnasso in Festa, \u003c/em>an opera written by Handel in 1734 for a British royal occasion. Anything by Handel is worth a listen. This weekend the festival will also present a selection of Italian concerti, and Bach’s Mass in B Minor, all at the San Francisco Conservatory of Music. Details \u003ca href=\"http://americanbach.org/sfbachfestival/schedule.html\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GnVvg1Zogw\u003c/p>\n\u003cp>Aug. 13: \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener\">Blackalicious\u003c/a> doesn’t record very often, but when they do the results are choice. Their album from last year, \u003cem>Imani, Volume I\u003c/em>, is a great example of how the duo of Gift of Gab \u003cem>and DJ/\u003c/em>Producer Chief Xcel make smart, tongue-twisting, and positive rap that’s never misogynist or about the bling. And they’re from Sacramento. Details for their show at Yoshi’s in Oakland are \u003ca href=\"http://www.yoshis.com/event/1226609-blackalicious-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11924422\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11924422 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-726x600.jpg\" alt=\"Samson Koletkar is on the bill with dozens of other South Asian (and Asian American) comedians at the annual Desi Fest\" width=\"726\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-726x600.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-400x331.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-960x794.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391.jpg 1000w\" sizes=\"(max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Samson Koletkar is on the bill with dozens of other South Asian (and Asian American) comedians at the annual Desi Fest \u003ccite>(Photo: Courtesy of Samson Koletkar and Desi Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 11-21\u003c/strong>: The 3rd annual Desi Comedy Fest (not Desi Arnaz, but 50 South Asian comedians from the US and eight other countries) are touring nine cities throughout Northern California. Details for their shows in San Francisco, Berkeley, Mill Valley, Santa Cruz, San Jose, Union City, Livermore, Kenwood, and Sacramento are here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PTjNqysmHk\u003c/p>\n\u003cp>\u003cstrong>Aug. 12-14\u003c/strong>: West Oakland’s Antoine Hunter has always wanted to dance, and never let being deaf stop him. Today he’s Artistic Director for \u003ca href=\"http://urbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance\u003c/a>, and the mastermind for the 3rd annual Bay Area Deaf Dance Festival, celebrating the creative talents of deaf and hard of hearing dancers. There’s a lovely profile by our video producer Claudia Escobar \u003ca href=\"https://ww2.kqed.org/arts/2016/08/09/antoine-hunter-empowers-deaf-community-through-dance/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and details for the weekend’s concerts are \u003ca href=\"http://www.brownpapertickets.com/event/2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Jazz in San Jose, Fighting Slavery with Social Media, and Wiser Hip-Hop | KQED",
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"headline": "Cy and David's Picks: Jazz in San Jose, Fighting Slavery with Social Media, and Wiser Hip-Hop",
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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>https://soundcloud.com/kqed/the-do-list-san-jose-jazz-fighting-slavery-through-social-media-hip-hop-maturity\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/QzPJJLXnBcQ'\n title='//www.youtube.com/embed/QzPJJLXnBcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 12-14:\u003c/strong> \u003ca href=\"https://summerfest.sanjosejazz.org/2016-lineup\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summerfest\u003c/a> is packing 13 indoor and outdoor stages over the next three days, so maybe you can’t go wrong. But we’re most excited about shows by San Francisco singer Tiffany Austin, and Oakland’s Terrie Odabi (sounding terrific last week at Cafe Stritch), guitarist Will Bernard, drummer Allison Miller, Red Baraat, not to mention Chico Freeman making a comeback. Plus there’s sax man Miguel Zenon (the SFJazz Collective), and, to put you in an Olympian Latin jazz mood, Sergio Mendes and Brazil 2016. Details \u003ca href=\"https://summerfest.sanjosejazz.org/2016-lineup\" 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/iAPr6qUTufg'\n title='//www.youtube.com/embed/iAPr6qUTufg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 18:\u003c/strong> Here’s another killer show for the South Bay, \u003ca href=\"http://ww2.kqed.org/arts/2016/07/26/the-do-list-live-in-san-jose/\" target=\"_blank\" rel=\"noopener\">The Do List Live in San Jose\u003c/a>. I’ll be with my co-host David Wiegand, South Bay Arts Reporter Rachael Myrow, and our producer Suzie Racho in the Corinthian Room at 7pm Thursday. And while we love to talk, we’ll spend most of the evening listening to our talented guests: bluesman \u003ca href=\"http://www.akikumar.com/home\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a> playing songs from his new album \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">\u003cem>Aki Goes to Bollywood\u003c/em> \u003c/a>(he’s also at San Jose Jazz Summerfest), comedian Nato Green, and an excerpt from a new play getting its premiere at \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">Theatreworks New Works Festival\u003c/a>. Details for this Cheap Thrill show ($10 including a drink) at San Jose’s Corinthian Room are \u003ca href=\"http://ww2.kqed.org/arts/2016/07/26/the-do-list-live-in-san-jose/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11924414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11924414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-800x546.jpg\" alt=\"Min Kahng's 'The Four Immigrants: An American Musical Manga' will be presented at the 2016 New Works Festival.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Min-Kahng-Theatreworks-New-works-Fest-e1470944101985-960x655.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Min Kahng’s ‘The Four Immigrants: An American\u003cbr>Musical Manga’ will be presented at the 2016 New Works Festival. \u003ccite>(Photo: Ben Krantz/Theateworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug 12-21\u003c/strong>: \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley New Works Festival \u003c/a>has developed a number of thoughtful crowd-pleasers, including the just closed \u003cem>Confederates.\u003c/em> This year’s edition look just as promising: a new play about World War I by Rajiv Joseph (he wrote \u003cem>Bengal Tiger at the Baghdad Zoo), Min Kahng’s The Four Immigrants: An American Musical Manga, and more. \u003c/em>For\u003cem> The Do List Live in San Jose, \u003c/em>we’ll feature an excerpt from a theatrical adaptation of Ray Bradbury’s old school fantasy novel \u003cem>Something Wicked This Way Comes.\u003c/em> Details for the New Works Festival are \u003ca href=\"http://www.theatreworks.org/shows/nwf\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11921305\" class=\"wp-caption aligncenter\" style=\"max-width: 484px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11921305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-484x600.jpg\" alt='Sojourner Truth always captioned her cartes de visite \"I sell the shadow to support the substance\" to show her ownership of herself and her image' width=\"484\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-484x600.jpg 484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-952x1180.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-1920x2380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-1180x1463.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413-960x1190.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_cartedevisiteSojournerTruth1864-1-e1470944809413.jpg 1936w\" sizes=\"(max-width: 484px) 100vw, 484px\">\u003cfigcaption class=\"wp-caption-text\">Sojourner Truth always captioned her cartes de visite “I sell the shadow to support the substance” to show her ownership of herself and her image \u003ccite>(Photo: Courtesy of Berkeley Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Oct. 23:\u003c/strong> Sojourner Truth was an escaped slave, abolitionist and women’s rights activist in the mid-19th century; and she a master of the social media of the time. Those were the square photographs called cartes de visite, which Truth used to support herself and spread her message (see above). She went to court three times to claim her legal rights to her own image. This show focuses on the scholarship of Cal Professor Darcy Grimaldo Grigsby, showing the way paper became a tool for political messages and federal power in the 19th century. Details for the Berkeley Art Museum show are \u003ca href=\"http://bampfa.org/program/sojourner-truth-photography-and-fight-against-slavery\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zw6Ph0U3yKc'\n title='//www.youtube.com/embed/Zw6Ph0U3yKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through Aug. 14\u003c/strong>: It seems impossible that there are any great premieres left in Baroque music (1600-1750), the period during which musicians like Bach and Pachelbel thrived. Yet \u003ca href=\"http://americanbach.org/index.htm\" target=\"_blank\" rel=\"noopener\">The American Bach Soloists Festival\u003c/a> are promising the first North American performance of \u003cem>Parnasso in Festa, \u003c/em>an opera written by Handel in 1734 for a British royal occasion. Anything by Handel is worth a listen. This weekend the festival will also present a selection of Italian concerti, and Bach’s Mass in B Minor, all at the San Francisco Conservatory of Music. Details \u003ca href=\"http://americanbach.org/sfbachfestival/schedule.html\" 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/2GnVvg1Zogw'\n title='//www.youtube.com/embed/2GnVvg1Zogw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aug. 13: \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener\">Blackalicious\u003c/a> doesn’t record very often, but when they do the results are choice. Their album from last year, \u003cem>Imani, Volume I\u003c/em>, is a great example of how the duo of Gift of Gab \u003cem>and DJ/\u003c/em>Producer Chief Xcel make smart, tongue-twisting, and positive rap that’s never misogynist or about the bling. And they’re from Sacramento. Details for their show at Yoshi’s in Oakland are \u003ca href=\"http://www.yoshis.com/event/1226609-blackalicious-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11924422\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11924422 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-726x600.jpg\" alt=\"Samson Koletkar is on the bill with dozens of other South Asian (and Asian American) comedians at the annual Desi Fest\" width=\"726\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-726x600.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-400x331.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391-960x794.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SAMSON-KOLETKAR-e1470946463391.jpg 1000w\" sizes=\"(max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Samson Koletkar is on the bill with dozens of other South Asian (and Asian American) comedians at the annual Desi Fest \u003ccite>(Photo: Courtesy of Samson Koletkar and Desi Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 11-21\u003c/strong>: The 3rd annual Desi Comedy Fest (not Desi Arnaz, but 50 South Asian comedians from the US and eight other countries) are touring nine cities throughout Northern California. Details for their shows in San Francisco, Berkeley, Mill Valley, Santa Cruz, San Jose, Union City, Livermore, Kenwood, and Sacramento are here.\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/1PTjNqysmHk'\n title='//www.youtube.com/embed/1PTjNqysmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 12-14\u003c/strong>: West Oakland’s Antoine Hunter has always wanted to dance, and never let being deaf stop him. Today he’s Artistic Director for \u003ca href=\"http://urbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance\u003c/a>, and the mastermind for the 3rd annual Bay Area Deaf Dance Festival, celebrating the creative talents of deaf and hard of hearing dancers. There’s a lovely profile by our video producer Claudia Escobar \u003ca href=\"https://ww2.kqed.org/arts/2016/08/09/antoine-hunter-empowers-deaf-community-through-dance/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and details for the weekend’s concerts are \u003ca href=\"http://www.brownpapertickets.com/event/2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Freddie Joachim on Discovering Jazz in Hip-Hop's Back Pages",
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"content": "\u003cp>Though his earnest love of jazz came through reading hip-hop liner notes, DJ and producer Freddie Joachim remembers his first exposure to the art form: Dave Brubeck’s \u003cem>Time In\u003c/em>, an anomaly among his father’s records.\u003c/p>\n\u003cp>“It was probably one of the only jazz records in my dad’s collection,” Joachim recalls. “I listened to that one a lot.”\u003c/p>\n\u003cp>But the record wasn’t \u003cem>really\u003c/em> his introduction to jazz. As is often the case with hip-hop fanatics, Joachim’s fascination with jazz developed as he researched samples used as source material for his favorite beats. After reading those magic words in album credits — “This song contains a sample of…” — hip-hop groups like A Tribe Called Quest and De La Soul led him to names like Bob James, Freddie Hubbard and Ahmad Jamal, each of whom were sought after by producers to help create the joyful, carefree sound that came to define the late ’80s / early ’90s \u003ca href=\"https://en.wikipedia.org/wiki/Native_Tongues\" target=\"_blank\" rel=\"noopener\">Native Tongues\u003c/a> movement.\u003c/p>\n\u003cp>This Saturday, Joachim provides his blissed-out vibes as part of \u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest 2016\u003c/a>, set to unfold from Aug. 12–14 across 13 stages throughout downtown San Jose.\u003c/p>\n\u003cp>https://youtu.be/ABjkFnlbY9I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joachim closes out the Fest’s “Jazz Beyond” programming, which showcases jazz sounds that come into contact with electronic, hip-hop and world music. This year, performers include José James, Adrian Younge, Masego, and DJ Bobbito Garcia (formerly of the influential New York hip-hop radio show \u003cem>The Stretch Armstrong and Bobbito Show\u003c/em>).\u003c/p>\n\u003cp>After a full day of live music, Joachim’s beats are a natural way to wind down. His tracks tend to be melodic and incredibly evocative, propelled by punchy bass lines and kick drums while lazy keys try their best to maintain an air of cool. The boom-bap is enough to nod your head, but the space that’s present elsewhere offers plenty of room for contemplation. \u003c/p>\n\u003cp>Rather than simply pressing play, Joachim adds a live element to his set by re-creating elements of his beats on stage. By stripping away and highlighting key portions of his compositions, or building beats from scratch, Joachim provides an intimate look at the creation of his music in a format that will be more interactive than a traditional DJ set. (Expect a similar approach from keyboard wizard Mark de Clive-Lowe, who performs alongside his wife, vocalist Nia Andrews, Friday night.)\u003c/p>\n\u003cp>“Even though I wasn’t initially a jazz listener, I think hip-hop broke me into digging deeper into other genres of music, especially past genres, whether it be jazz or soul records,” admits Joachim. Because he didn’t initially encounter jazz in the classroom, his connection to the art form shows the important role hip-hop has played in introducing jazz to younger audiences. As for San Jose Jazz’s choice to book artists who may not seem to be “jazz” at first glance — last year featured a DJ set from A Tribe Called Quest’s Ali Shaheed Muhammad — it shows a willingness to present to its audience the many faces, and entry points, that jazz has provided its listeners over the years.\u003c/p>\n\u003cp>https://youtu.be/ykZHqx84YS0\u003c/p>\n\u003cp>This interplay is evident among other festival performers in the “Jazz Beyond” series. Contemporary crooner José James, who returns to San Jose after a set three years ago, is another hybrid example of jazz musicianship intermingling with more contemporary sounds, rhythms and influences. James’ discography includes three albums on heralded jazz label Blue Note, with his most recent collection a tribute to vocalist Billie Holiday. However, his 2008 debut \u003cem>The Dreamer\u003c/em> included the single “Park Bench People,” a song originally performed by influential L.A. underground rap group Freestyle Fellowship.\u003c/p>\n\u003cp>Growing up in San Diego, Joachim recalls loving gangsta rap with his friends, but found little kinship when his interest grew to names like the Sound Providers, a local group and a key musical influence. (Their song “The Field,” built around a looped sample of “Angel Eyes” from the late jazz guitarist Jim Hall, was what pushed him into producing.) With the advent of the internet, he found more songs like “The Field,” then started creating his own beats. With his beats and mixes now scattered across the world online, Joachim has the same chance to provide that creative spark for others.\u003c/p>\n\u003cp>“There are a handful of kids that I feel like are the same as [I was] as a kid,” he says. “They’re slowly questioning why they listen to certain music, and maybe as they get older, it’ll unfold for them [as well].”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Freddie Joachim performs the night of Saturday, Aug. 13, at Cafe Stritch; his set starts at midnight. \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest 2016\u003c/a> runs Aug. 12–14 at various stages throughout downtown San Jose, and includes performances by the Funky Meters, Bobby Caldwell, Sergio Mendes, Cecile McLorin Salvant, Chico Freeman, Goapele, Melissa Aladana and Tifany Austin, among dozens of others. More details \u003ca href=\"https://summerfest.sanjosejazz.org/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though his earnest love of jazz came through reading hip-hop liner notes, DJ and producer Freddie Joachim remembers his first exposure to the art form: Dave Brubeck’s \u003cem>Time In\u003c/em>, an anomaly among his father’s records.\u003c/p>\n\u003cp>“It was probably one of the only jazz records in my dad’s collection,” Joachim recalls. “I listened to that one a lot.”\u003c/p>\n\u003cp>But the record wasn’t \u003cem>really\u003c/em> his introduction to jazz. As is often the case with hip-hop fanatics, Joachim’s fascination with jazz developed as he researched samples used as source material for his favorite beats. After reading those magic words in album credits — “This song contains a sample of…” — hip-hop groups like A Tribe Called Quest and De La Soul led him to names like Bob James, Freddie Hubbard and Ahmad Jamal, each of whom were sought after by producers to help create the joyful, carefree sound that came to define the late ’80s / early ’90s \u003ca href=\"https://en.wikipedia.org/wiki/Native_Tongues\" target=\"_blank\" rel=\"noopener\">Native Tongues\u003c/a> movement.\u003c/p>\n\u003cp>This Saturday, Joachim provides his blissed-out vibes as part of \u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest 2016\u003c/a>, set to unfold from Aug. 12–14 across 13 stages throughout downtown San Jose.\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/ABjkFnlbY9I'\n title='//www.youtube.com/embed/ABjkFnlbY9I'\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>Joachim closes out the Fest’s “Jazz Beyond” programming, which showcases jazz sounds that come into contact with electronic, hip-hop and world music. This year, performers include José James, Adrian Younge, Masego, and DJ Bobbito Garcia (formerly of the influential New York hip-hop radio show \u003cem>The Stretch Armstrong and Bobbito Show\u003c/em>).\u003c/p>\n\u003cp>After a full day of live music, Joachim’s beats are a natural way to wind down. His tracks tend to be melodic and incredibly evocative, propelled by punchy bass lines and kick drums while lazy keys try their best to maintain an air of cool. The boom-bap is enough to nod your head, but the space that’s present elsewhere offers plenty of room for contemplation. \u003c/p>\n\u003cp>Rather than simply pressing play, Joachim adds a live element to his set by re-creating elements of his beats on stage. By stripping away and highlighting key portions of his compositions, or building beats from scratch, Joachim provides an intimate look at the creation of his music in a format that will be more interactive than a traditional DJ set. (Expect a similar approach from keyboard wizard Mark de Clive-Lowe, who performs alongside his wife, vocalist Nia Andrews, Friday night.)\u003c/p>\n\u003cp>“Even though I wasn’t initially a jazz listener, I think hip-hop broke me into digging deeper into other genres of music, especially past genres, whether it be jazz or soul records,” admits Joachim. Because he didn’t initially encounter jazz in the classroom, his connection to the art form shows the important role hip-hop has played in introducing jazz to younger audiences. As for San Jose Jazz’s choice to book artists who may not seem to be “jazz” at first glance — last year featured a DJ set from A Tribe Called Quest’s Ali Shaheed Muhammad — it shows a willingness to present to its audience the many faces, and entry points, that jazz has provided its listeners over the years.\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/ykZHqx84YS0'\n title='//www.youtube.com/embed/ykZHqx84YS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This interplay is evident among other festival performers in the “Jazz Beyond” series. Contemporary crooner José James, who returns to San Jose after a set three years ago, is another hybrid example of jazz musicianship intermingling with more contemporary sounds, rhythms and influences. James’ discography includes three albums on heralded jazz label Blue Note, with his most recent collection a tribute to vocalist Billie Holiday. However, his 2008 debut \u003cem>The Dreamer\u003c/em> included the single “Park Bench People,” a song originally performed by influential L.A. underground rap group Freestyle Fellowship.\u003c/p>\n\u003cp>Growing up in San Diego, Joachim recalls loving gangsta rap with his friends, but found little kinship when his interest grew to names like the Sound Providers, a local group and a key musical influence. (Their song “The Field,” built around a looped sample of “Angel Eyes” from the late jazz guitarist Jim Hall, was what pushed him into producing.) With the advent of the internet, he found more songs like “The Field,” then started creating his own beats. With his beats and mixes now scattered across the world online, Joachim has the same chance to provide that creative spark for others.\u003c/p>\n\u003cp>“There are a handful of kids that I feel like are the same as [I was] as a kid,” he says. “They’re slowly questioning why they listen to certain music, and maybe as they get older, it’ll unfold for them [as well].”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Freddie Joachim performs the night of Saturday, Aug. 13, at Cafe Stritch; his set starts at midnight. \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest 2016\u003c/a> runs Aug. 12–14 at various stages throughout downtown San Jose, and includes performances by the Funky Meters, Bobby Caldwell, Sergio Mendes, Cecile McLorin Salvant, Chico Freeman, Goapele, Melissa Aladana and Tifany Austin, among dozens of others. More details \u003ca href=\"https://summerfest.sanjosejazz.org/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the daughter of a Georgia minister, Lizz Wright grew up singing gospel music. She weaves that call-and-response style into her latest album, “Freedom and Surrender.” The album touches on\u003cbr>\nmusic’s healing role in Wright’s journey through divorce and a near-fatal car accident. The soul and jazz singer, whose smoky voice has been likened to that of Norah Jones and Tracy Chapman, performs this weekend at San Jose Jazz Summer Fest.\u003c/p>\n\u003cp>\u003cstrong>More Information:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://lizzwright.net/\">LizzWright.net\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"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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"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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"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.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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