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"content": "\u003cp>Rob Wasserman, the Grammy-winning bassist whose playing accompanied everyone from Van Morrison to Willie Dixon, died Wednesday after a brief hospitalization.\u003c/p>\n\u003cp>Bob Weir, a close friend who played with Wasserman most recently in his band Ratdog, announced the bassist’s death today on Twitter.\u003c/p>\n\u003cp>https://twitter.com/BobWeir/status/748281734878355461\u003c/p>\n\u003cp>A cause of death was not immediately known. The announcement came just hours after Weir posted that Wasserman had been hospitalized, asking for strength and support.\u003c/p>\n\u003cp>Wasserman studied at the San Francisco Conservatory of Music, soon finding himself working alongside composer John Adams. Upon the release of his debut album \u003cem>Solo\u003c/em> in 1982, produced by friend David Grisman, Wasserman quickly became a go-to bassist for musicians all over the Bay Area and beyond. The following albums \u003cem>Duets\u003c/em> and \u003cem>Trios\u003c/em> featured Wasserman alongside Lou Reed, Stéphane Grappelli, Jerry Garcia, Brian Wilson, Willie Dixon, Aaron Neville and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kwrpUJVqfR0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m devastated to pass along that Rob Wasserman lost his struggle today, and we have lost a beautiful friend and artist,” Weir \u003ca href=\"https://www.facebook.com/BobbyWeir/photos/a.150588988287740.28760.150534874959818/1242673925745902/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on his Facebook page. “I can still hear the sound of his bow playing those strings unamplified and pure. It’s one of the most glorious sounds I’ve ever heard, and the music and warmth he gave us will live on in the hearts of everyone he touched.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A cause of death was not immediately known. The announcement came just hours after Weir posted that Wasserman had been hospitalized, asking for strength and support.\u003c/p>\n\u003cp>Wasserman studied at the San Francisco Conservatory of Music, soon finding himself working alongside composer John Adams. Upon the release of his debut album \u003cem>Solo\u003c/em> in 1982, produced by friend David Grisman, Wasserman quickly became a go-to bassist for musicians all over the Bay Area and beyond. The following albums \u003cem>Duets\u003c/em> and \u003cem>Trios\u003c/em> featured Wasserman alongside Lou Reed, Stéphane Grappelli, Jerry Garcia, Brian Wilson, Willie Dixon, Aaron Neville and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Scotty Moore, the pioneering rock guitarist whose sharp, graceful style helped Elvis Presley shape his revolutionary sound and inspired a generation of musicians that included Keith Richards, Jimmy Page and Bruce Springsteen, died Tuesday. He was 84.\u003c/p>\n\u003cp>Moore died at his home in Nashville, said biographer and friend James L. Dickerson, who confirmed the death through a family friend.\u003c/p>\n\u003cp>“As a musician, I consider him one of the co-founders of rock ‘n’ roll because of the guitar licks that he invented,” Dickerson said, calling Moore an icon.\u003c/p>\n\u003cp>Presley’s ex-wife Priscilla Presley echoed that sentiment in a statement Tuesday night: “Elvis loved Scotty dearly and treasured those amazing years together, both in the studio and on the road. Scotty was an amazing musician and a legend in his own right. The incredible music that Scotty and Elvis made together will live forever and influence generations to come.”\u003c/p>\n\u003cp>Moore, a member of the Rock and Roll Hall of Fame, was the last survivor of a combo that included Presley, bassist Bill Black and producer Sam Phillips.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore was a local session musician when he and Black were thrown together with Presley on July 5, 1954, in the Memphis-based Sun Records studios. Presley was a self-effacing, but determined teen anxious to make a record. Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. Fontana and trying their best to be heard over thousands of screaming fans.\u003c/p>\n\u003cp>The hip-shaking Presley soon rose from regional act to superstardom, signing up with RCA Records and topping the charts with “Heartbreak Hotel,” ”All Shook Up” and many other hits. Elvis was the star, but young musicians listened closely to Moore’s contributions, whether the slow, churning solo he laid down on “Heartbreak Hotel” or the flashy lead on “Hard-Headed Woman.”\u003c/p>\n\u003cp>“Everyone else wanted to be Elvis,” Richards once observed. “I wanted to be Scotty.”\u003c/p>\n\u003cp>Moore, Black and Fontana backed Presley for his shocking TV appearances and early movies, but by 1957 had tired of what Moore called “Elvis economics.” In the memoir “That’s Alright, Elvis,” published in 1997, Moore noted that he earned just over $8,000 in 1956, while Presley became a millionaire. Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. Moore put out a solo album in 1964 called “The Guitar That Changed the World!” and with Fontana played on the 1997 Presley tribute album “All the King’s Men,” featuring Richards, Levon Helm and other stars. He and Fontana also backed Paul McCartney for the ex-Beatle’s cover of “That’s All Right.” In 2000, Moore was inducted into the Rock Hall of Fame. More recently, he was a recording studio manager, engineer and businessman.\u003c/p>\n\u003cp>“He was a class act as a human being,” biographer Dickerson told The Associated Press late Tuesday. “Besides being one of the best guitarists that ever lived and most inventive, he was a great person, and you don’t always find that in the music industry.”\u003c/p>\n\u003cp>Dickerson said a family member of Moore’s longtime companion, Gail Pollock, who had been staying in the house with Moore confirmed the death Tuesday. Pollock died in November 2015.\u003c/p>\n\u003cp>Moore was born near Gadsden, Tennessee, in 1931, and learned guitar at an early age. He was a fan of jazz and country and was strongly influenced by Chet Atkins and Les Paul. After serving in the Navy, he settled in Memphis, working at a dry cleaning plant during the day and playing music after his shift was over.\u003c/p>\n\u003cp>Phillips, who had not been impressed with Presley at first, had called in Moore and Black to work with the young singer. The two had been recorded by Phillips previously as members of a country-Western band, The Starlite Wranglers.\u003c/p>\n\u003cp>“I wanted them to get together (with Presley) and get a feel for each other,” Phillips told the Los Angeles Times in 1981. “I also told them to keep an eye out for material.”\u003c/p>\n\u003cp>Moore told of that recording session many times over the years, remembering that it was not going well until Presley broke into a spontaneous, upbeat version of “That’s All Right.” The song, also called “That’s All Right, Mama,” was originally recorded by bluesman Arthur “Big Boy” Crudup in 1946.\u003c/p>\n\u003cp>Moore and Black began jamming with Presley and helped work out the version that Phillips put on tape.\u003c/p>\n\u003cp>“Sam poked his head out of the door — this was before mixing consoles had a talkback button — and he said, ‘What are you guys doing? That sounds pretty good. Why don’t you keep doing it,'” Moore told Guitar Player. “So I got my guitar, ran through it a couple of times, and that was it. That was the beginning of, how do you say it — all hell breaking loose!”\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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Moore’s bright riffs and fluid solos — natural compliments to Presley’s strumming rhythm guitar — and Black’s hard-slapping work on a standup bass gave Elvis the foundation on which he developed a fresh blend of blues, gospel and country that came to be called rock ‘n’ roll.\u003c/p>\n\u003cp>“One day, we went to have coffee with Sam and his secretary, Marion Keisker, and she was the one who brought up Elvis,” Moore said in a 2014 interview with Guitar Player magazine. “We didn’t know, but Marion had a crush on Elvis, and she asked Sam if he had ever talked to that boy who had been in there.\u003c/p>\n\u003cp>“Sam said to Marion, ‘Go back in there and get that boy’s telephone number, and give it to Scotty.’ Then, Sam turned to me and said, ‘Why don’t you listen to this boy, and see what you think.’ Marion came back with a slip of paper, and it said ‘Elvis Presley.’ I said, ‘Elvis Presley — what the hell kind of a name is that?'”\u003c/p>\n\u003cp>For the now-legendary Sun sessions they covered a wide range of songs, from “That’s All Right” to “Mystery Train.” After “That’s All Right” began drawing attention, Presley, Moore and Black took to the road playing any gig they could find, large or small, adding drummer D.J. 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Moore also cited tension with Elvis’ manager, “Colonel” Tom Parker.\u003c/p>\n\u003cp>“We couldn’t go talk to Elvis and talk about anything,” Moore, who along with Black left Presley’s group, told The Tennessean newspaper in 1997. “There wasn’t ever any privacy. It was designed that way, but not by Elvis. It’s not that I feel bitterness, just disappointment.”\u003c/p>\n\u003cp>Moore worked one more time with Elvis, for the 1968 “comeback” TV special that helped return him to the top of the charts. But Moore’s compensation didn’t even cover his travel expenses, he would recall, and he was not asked to join Presley’s band for his tours in the 1970s. (Presley died in 1977).\u003c/p>\n\u003cp>Starting in the late 1950s, Moore worked on various projects. In 1959, singer Thomas Wayne had a Top 5 hit, “Tragedy,” on Moore’s Fernwood record label. 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"content": "\u003cp>At a time when evictions, soaring rent prices, and shuttered art spaces are such commonplace headlines in the Bay Area that our eyes have begun to gloss over them, there's something to be said for the power of a personal story.\u003c/p>\n\u003cp>That's one take-away from this music video for \"Tech $,\" a new song from the veteran Bay Area hip-hop crew Zion I. With lyrics that reference turning \"Mission Street into a lounge act\" and gentrification's strangling effect on Oakland's soul, MC Zumbi laments the market forces that have driven middle- and working-class people out of both San Francisco and the East Bay.\u003c/p>\n\u003cp>Notably, there's nothing theoretical about those words: Earlier this year, the rapper got notice that his landlord —the owner of the Oakland home he and his family had been renting for years --wanted to sell.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N9pJ2zcGpFA\u003c/p>\n\u003cp>\"The market was obviously super hot,\" Zumbi told KQED via email of his housing situation. \"[The owner] offered to sell to me, but I was in no position at the time to purchase a home that needed some work for $750,000. Thus, I was forced to move.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He decided to shoot video while his family was packing up the house, to drive home the song's rather straightforward message.\u003c/p>\n\u003cp>\"I wrote the song out of frustration with trying to find something affordable and being abruptly introduced to skyrocketing rent prices and hordes of people eager to pay,\" he explained. \"It was a transitional moment in so many ways that I felt it was an opportunity to capture the reality of the situation.\"\u003c/p>\n\u003cp>Zion I—whose lengthy catalog is \u003ca href=\"https://www.youtube.com/watch?v=Tt7wJnQxWwg\" target=\"_blank\" rel=\"noopener noreferrer\">rich with local pride\u003c/a>—is currently on tour for the summer; you can \u003ca href=\"http://zionicrew.com/\" target=\"_blank\" rel=\"noopener noreferrer\">check dates and more here. \u003c/a>When Zumbi does come home, he'll be coming home to San Leandro.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Mack Rice, the composer of ’60s hit “Mustang Sally” and co-writer of the Staple Singers’ landmark “Respect Yourself” has died in Detroit. He was 82.\u003c/p>\n\u003cp>Laura Rice told The Associated Press that her husband died at their home Monday of complications from Alzheimer’s disease.\u003c/p>\n\u003cp>“Sir” Mack Rice was best known for writing “Mustang Sally,” which he initially recorded but singer Wilson Pickett popularized. They had been in a group together called the Falcons, which recorded in Detroit.\u003c/p>\n\u003cp>“When he wrote ‘Mustang Sally’ and he saw that royalty check, he started writing,” Laura Rice said. “He never thought ‘Mustang Sally’ would ever be as big as it became. … He used to tell me, ‘Honey that Mustang has rolled a long time.'”\u003c/p>\n\u003cp>Rice was a songwriter for Memphis, Tennessee-based Stax Records and split his time between there and Detroit, where he moved from Mississippi as a teen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EKwU9HFf7KM\u003c/p>\n\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\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/EKwU9HFf7KM'\n title='//www.youtube.com/embed/EKwU9HFf7KM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ludacris To Play Gitmo's Fourth of July 'Freedom Festival,' Irony Officially Dead",
"title": "Ludacris To Play Gitmo's Fourth of July 'Freedom Festival,' Irony Officially Dead",
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"content": "\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of The Many Musical Lives of Kelley Stoltz.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Kelley_Stoltz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>If one were to consider just his consistently strong solo albums, San Francisco musician \u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> would rightly be labeled an impressive talent. Over the past decade and a half, he’s released seven LPs of finely-tuned rock-pop for labels that include Castle Face, Third Man, and Sub Pop. Influenced by classic artists like the Kinks and the Beach Boys, Stoltz conveys a unique and ever-evolving interest in pop, mixed with elements of psychedelia and garage rock. Even more impressively, his solo albums have been truly solo affairs, self-recorded at his own Electric Duck Studio, with Stoltz playing most of the instruments throughout.\u003c/p>\n\u003cp>In addition to working as a talented solo artist, though, Kelley Stoltz has also contributed to the music of many other local bands. As a producer, he’s worked with acts across a variety of genres, from intense local punk band \u003cstrong>\u003ca href=\"https://www.facebook.com/lifestinkss/?fref=ts\">Life Stinks\u003c/a>\u003c/strong> to the pure pop of \u003cstrong>\u003ca href=\"http://www.themoorebros.com/\">The Moore Brothers\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Bart-Davenport-Music-190132134341791/?fref=ts\">Bart Davenport\u003c/a>\u003c/strong>. As a multi-instrumentalist, he was a long-time member of \u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets/?fref=ts\">Sonny & the Sunsets\u003c/a>\u003c/strong>, and part of \u003cstrong>\u003ca href=\"https://www.facebook.com/Stephanie-Finch-the-Company-Men-212492368782104/?fref=ts\">Stephanie Finch\u003c/a>\u003c/strong>’s band. A full consideration of Stoltz’s contributions to local music would surely land somewhere between daunting and overwhelming.\u003c/p>\n\u003cp>Given his experience, we asked Kelley to select and comment on some notable highlights among the many local projects that he’s contributed to over the years. True to the breadth in his resume, he picked albums offering a wide variety of sounds, from the first record he produced for another band — 2007’s \u003cem>God’s Boat\u003c/em>, by \u003cstrong>\u003ca href=\"https://www.youtube.com/user/thepassionistas\">The Passionistas\u003c/a>\u003c/strong> — to a new EP from \u003cstrong>\u003ca href=\"https://www.facebook.com/Useless-Eaters-185004331543196/?fref=ts\">Useless Eaters\u003c/a>\u003c/strong> that arrived earlier this year.\u003c/p>\n\u003cp>The tracks here are bookended by a couple of Stoltz’s own songs, from different points in his career. All told, the mixtape bears testament to one musician’s many significant contributions to the Bay Area music scene.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing and Comments from Kelley Stoltz\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> – “Cut Me Baby”\u003cbr>\nFrom \u003cem>In Triangle Time\u003c/em> (Castle Face Records, 2015)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themantles/?fref=ts\">The Mantles\u003c/a>\u003c/strong> – “Hello”\u003cbr>\nFrom \u003cem>Long Enough To Leave\u003c/em> (Slumberland Records, 2013)\u003cbr>\nKelley Stoltz: “The most fun I had, personality-wise, for months on end. Great tunes!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.youtube.com/user/thepassionistas\">The Passionistas\u003c/a>\u003c/strong> – “Wild West”\u003cbr>\nFrom \u003cem>God’s Boat\u003c/em> (New and Used Records, 2007)\u003cbr>\nKS: “My first ‘production’ job. I approached them after seeing their live version of ‘Amazing Grace’ at the Make Out Room. Good lads.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.themoorebros.com/\">The Moore Brothers\u003c/a>\u003c/strong> – “Heard About You”\u003cbr>\nFrom \u003cem>Aptos\u003c/em> (American Dust Recordings, 2009)\u003cbr>\nKS: “It’s fun to watch masters at their craft.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a>\u003c/strong> – “It Killed Mom”\u003cbr>\nFrom \u003cem>Sucks Blood\u003c/em> (Castle Face Records, 2007)\u003cbr>\nKS: “My inexperienced mic-ing techniques made for a spooky recording. I remember my Tascam 388 tape machine went down on day one and Glenn Donaldson brought his by to save the day.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lifestinkss/?fref=ts\">Life Stinks\u003c/a>\u003c/strong> – “Strange Prison”\u003cbr>\nFrom \u003cem>You’ll Never Make It\u003c/em> (Ss Records, 2015)\u003cbr>\nKS: “Did this [and the band’s \u003cem>Life Stinks\u003c/em> LP] as a tag-team production effort with my old Aussie pal, the legend Mikey Young. Named after a bomb Mel Brooks movie. Stooges, Velvets, Flipper – snot with a heart.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Useless-Eaters-185004331543196/?fref=ts\">Useless Eaters\u003c/a>\u003c/strong> – “Temporary Mutilation”\u003cbr>\nFrom \u003cem>Temporary Mutilation\u003c/em> EP (Slovenly Recordings, 2016)\u003cbr>\nKS: “Razor-sharp punk tunes from Memphis via SF and back. Any group who is willing to use my 1950s ripped-out-of-a-grandma-style-double-decker-organ drum machine on a track is alright with me.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets/?fref=ts\">Sonny & the Sunsets\u003c/a>\u003c/strong> – “I Wanna Do It”\u003cbr>\nFrom \u003cem>Hit After Hit\u003c/em> (Fat Possum Records, 2011)\u003cbr>\nKS: “Various tracks [on several Sonny & the Sunsets albums], too many to recall, drumming, singing, guitaring — Sonny let me live my dream and be a touring drummer! Sorry I was such a pain.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Stephanie-Finch-the-Company-Men-212492368782104/?fref=ts\">Stephanie Finch and the Company Men\u003c/a>\u003c/strong> – “Tina Goodbye”\u003cbr>\nFrom \u003cem>Cry Tomorrow\u003c/em> (Belle Sound, 2010)\u003cbr>\nKS: “Stephie is the better half of Chuck Prophet’s group, a sweetheart and great singer — I played drums, bass and all sorts in her backing band. Made at Decibelle Studio, a cool room that once recorded the Dead Kennedys and George Winston.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Bart-Davenport-Music-190132134341791/?fref=ts\">Bart Davenport\u003c/a>\u003c/strong> – “A Young One”\u003cbr>\nFrom \u003cem>Palaces\u003c/em> (Antenna Farm Records, 2008)\u003cbr>\nKS: “Recorded at Kevin Ink’s hi-fi studio, I remember pushing for a Philly soul vibe on ‘A Young One’ and it became a hit! I glockenspieled my brains out on that track.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson/?fref=ts\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Fast-Moving Clouds”\u003cbr>\nFrom \u003cem>Fast-Moving Clouds\u003c/em> (Burger Records, 2015)\u003cbr>\nKS: “Cool songs made with friends, teen mania ensues. Glad to see the album get a sweet write-up in the \u003cem>New York Times\u003c/em>, a first for an Electric Duck Production.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/maraudeur9/?fref=ts\">Maraudeur\u003c/a>\u003c/strong> – “The Crocodile”\u003cbr>\nFrom \u003cem>Tape 2\u003c/em> (self-released, 2015)\u003cbr>\nKS: “A single and an album to be released — cool punky new wave from the happening town of Geneva, Switzerland. Look for it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> – “Mean Marianne”\u003cbr>\nFrom \u003cem>Antique Glow\u003c/em> (Jackpine Social Club, 2003)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged mix of The Many Musical Lives of Kelley Stoltz.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Kelley_Stoltz_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>If one were to consider just his consistently strong solo albums, San Francisco musician \u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> would rightly be labeled an impressive talent. Over the past decade and a half, he’s released seven LPs of finely-tuned rock-pop for labels that include Castle Face, Third Man, and Sub Pop. Influenced by classic artists like the Kinks and the Beach Boys, Stoltz conveys a unique and ever-evolving interest in pop, mixed with elements of psychedelia and garage rock. Even more impressively, his solo albums have been truly solo affairs, self-recorded at his own Electric Duck Studio, with Stoltz playing most of the instruments throughout.\u003c/p>\n\u003cp>In addition to working as a talented solo artist, though, Kelley Stoltz has also contributed to the music of many other local bands. As a producer, he’s worked with acts across a variety of genres, from intense local punk band \u003cstrong>\u003ca href=\"https://www.facebook.com/lifestinkss/?fref=ts\">Life Stinks\u003c/a>\u003c/strong> to the pure pop of \u003cstrong>\u003ca href=\"http://www.themoorebros.com/\">The Moore Brothers\u003c/a>\u003c/strong> and \u003cstrong>\u003ca href=\"https://www.facebook.com/Bart-Davenport-Music-190132134341791/?fref=ts\">Bart Davenport\u003c/a>\u003c/strong>. As a multi-instrumentalist, he was a long-time member of \u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets/?fref=ts\">Sonny & the Sunsets\u003c/a>\u003c/strong>, and part of \u003cstrong>\u003ca href=\"https://www.facebook.com/Stephanie-Finch-the-Company-Men-212492368782104/?fref=ts\">Stephanie Finch\u003c/a>\u003c/strong>’s band. A full consideration of Stoltz’s contributions to local music would surely land somewhere between daunting and overwhelming.\u003c/p>\n\u003cp>Given his experience, we asked Kelley to select and comment on some notable highlights among the many local projects that he’s contributed to over the years. True to the breadth in his resume, he picked albums offering a wide variety of sounds, from the first record he produced for another band — 2007’s \u003cem>God’s Boat\u003c/em>, by \u003cstrong>\u003ca href=\"https://www.youtube.com/user/thepassionistas\">The Passionistas\u003c/a>\u003c/strong> — to a new EP from \u003cstrong>\u003ca href=\"https://www.facebook.com/Useless-Eaters-185004331543196/?fref=ts\">Useless Eaters\u003c/a>\u003c/strong> that arrived earlier this year.\u003c/p>\n\u003cp>The tracks here are bookended by a couple of Stoltz’s own songs, from different points in his career. All told, the mixtape bears testament to one musician’s many significant contributions to the Bay Area music scene.\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing and Comments from Kelley Stoltz\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> – “Cut Me Baby”\u003cbr>\nFrom \u003cem>In Triangle Time\u003c/em> (Castle Face Records, 2015)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/themantles/?fref=ts\">The Mantles\u003c/a>\u003c/strong> – “Hello”\u003cbr>\nFrom \u003cem>Long Enough To Leave\u003c/em> (Slumberland Records, 2013)\u003cbr>\nKelley Stoltz: “The most fun I had, personality-wise, for months on end. Great tunes!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.youtube.com/user/thepassionistas\">The Passionistas\u003c/a>\u003c/strong> – “Wild West”\u003cbr>\nFrom \u003cem>God’s Boat\u003c/em> (New and Used Records, 2007)\u003cbr>\nKS: “My first ‘production’ job. I approached them after seeing their live version of ‘Amazing Grace’ at the Make Out Room. Good lads.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.themoorebros.com/\">The Moore Brothers\u003c/a>\u003c/strong> – “Heard About You”\u003cbr>\nFrom \u003cem>Aptos\u003c/em> (American Dust Recordings, 2009)\u003cbr>\nKS: “It’s fun to watch masters at their craft.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theeohsees.com/\">Thee Oh Sees\u003c/a>\u003c/strong> – “It Killed Mom”\u003cbr>\nFrom \u003cem>Sucks Blood\u003c/em> (Castle Face Records, 2007)\u003cbr>\nKS: “My inexperienced mic-ing techniques made for a spooky recording. I remember my Tascam 388 tape machine went down on day one and Glenn Donaldson brought his by to save the day.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lifestinkss/?fref=ts\">Life Stinks\u003c/a>\u003c/strong> – “Strange Prison”\u003cbr>\nFrom \u003cem>You’ll Never Make It\u003c/em> (Ss Records, 2015)\u003cbr>\nKS: “Did this [and the band’s \u003cem>Life Stinks\u003c/em> LP] as a tag-team production effort with my old Aussie pal, the legend Mikey Young. Named after a bomb Mel Brooks movie. Stooges, Velvets, Flipper – snot with a heart.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Useless-Eaters-185004331543196/?fref=ts\">Useless Eaters\u003c/a>\u003c/strong> – “Temporary Mutilation”\u003cbr>\nFrom \u003cem>Temporary Mutilation\u003c/em> EP (Slovenly Recordings, 2016)\u003cbr>\nKS: “Razor-sharp punk tunes from Memphis via SF and back. Any group who is willing to use my 1950s ripped-out-of-a-grandma-style-double-decker-organ drum machine on a track is alright with me.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sonnysunsets/?fref=ts\">Sonny & the Sunsets\u003c/a>\u003c/strong> – “I Wanna Do It”\u003cbr>\nFrom \u003cem>Hit After Hit\u003c/em> (Fat Possum Records, 2011)\u003cbr>\nKS: “Various tracks [on several Sonny & the Sunsets albums], too many to recall, drumming, singing, guitaring — Sonny let me live my dream and be a touring drummer! Sorry I was such a pain.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Stephanie-Finch-the-Company-Men-212492368782104/?fref=ts\">Stephanie Finch and the Company Men\u003c/a>\u003c/strong> – “Tina Goodbye”\u003cbr>\nFrom \u003cem>Cry Tomorrow\u003c/em> (Belle Sound, 2010)\u003cbr>\nKS: “Stephie is the better half of Chuck Prophet’s group, a sweetheart and great singer — I played drums, bass and all sorts in her backing band. Made at Decibelle Studio, a cool room that once recorded the Dead Kennedys and George Winston.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Bart-Davenport-Music-190132134341791/?fref=ts\">Bart Davenport\u003c/a>\u003c/strong> – “A Young One”\u003cbr>\nFrom \u003cem>Palaces\u003c/em> (Antenna Farm Records, 2008)\u003cbr>\nKS: “Recorded at Kevin Ink’s hi-fi studio, I remember pushing for a Philly soul vibe on ‘A Young One’ and it became a hit! I glockenspieled my brains out on that track.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/sarahbethenelson/?fref=ts\">Sarah Bethe Nelson\u003c/a>\u003c/strong> – “Fast-Moving Clouds”\u003cbr>\nFrom \u003cem>Fast-Moving Clouds\u003c/em> (Burger Records, 2015)\u003cbr>\nKS: “Cool songs made with friends, teen mania ensues. Glad to see the album get a sweet write-up in the \u003cem>New York Times\u003c/em>, a first for an Electric Duck Production.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/maraudeur9/?fref=ts\">Maraudeur\u003c/a>\u003c/strong> – “The Crocodile”\u003cbr>\nFrom \u003cem>Tape 2\u003c/em> (self-released, 2015)\u003cbr>\nKS: “A single and an album to be released — cool punky new wave from the happening town of Geneva, Switzerland. Look for it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>\u003c/strong> – “Mean Marianne”\u003cbr>\nFrom \u003cem>Antique Glow\u003c/em> (Jackpine Social Club, 2003)\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>[contextly_sidebar id=”SeJxOhutS4B0GGnkeP9GTBRDscXVjp49″]\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Justin Timberlake Finally Gets Called Out, 12 Years after Nipplegate",
"title": "Justin Timberlake Finally Gets Called Out, 12 Years after Nipplegate",
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"content": "\u003cp>[contextly_sidebar id=\"DTeLk36yQMgO2Zg2fdDQmQFL2wpaixAx\"]Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/747257470314131456\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/747273043379052544\u003c/p>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/747404875445768192?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Felonious_munk/status/747283831753838592?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Princesskeshia1/status/747358805281873924?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://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>Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson \u003ca href=\"http://www.nathanstanleyentertainment.com/\" target=\"_blank\" rel=\"noopener\">Nathan Stanley\u003c/a>; Stanley’s publicist said in a statement that the cause was complications from skin cancer.\u003c/p>\n\u003cp>Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.\u003c/p>\n\u003ch3>High Lonesome\u003c/h3>\n\u003cp>Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WrnYWc4ZmG0\u003c/p>\n\u003cp>John Wright, who wrote a book on Stanley called \u003cem>Traveling the High Way Home\u003c/em>, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ca7JCI5Jjhk\u003c/p>\n\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nn4Kbarc8w\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72",
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"content": "\u003cp>Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.\u003c/p>\n\u003cp>Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.\u003c/p>\n\u003cp>His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.\u003c/p>\n\u003cp>The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.\u003c/p>\n\u003cp>Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UkLYlrE2lPs\u003c/p>\n\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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