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"content": "\u003cp>What is the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> if not just a really, REALLY big boy band?\u003c/p>\n\u003cp>The members of the roughly 230-member ensemble certainly have the voices, moves and hairdos to match. That much is clear as they work their way through a slew of hits by pop history’s most female-scream-inducing male groups, from The Beatles to Boyz II Men, in their latest concert program, \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11735767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11735767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg\" alt=\"The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those of us who can tear ourselves away from the big shindig going on at Civic Center this weekend, Heartthrobs is bound to be one of the highlights of \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">Pride 2016\u003c/a>.\u003c/p>\n\u003cp>The Boy band repertoire is a guilty pleasure for many, and this chorus truly knows how to milk a sappy lyric. The singers push One Direction’s “What Makes You Beautiful” beyond the manufactured, and into the realms of the sighing-sweet. They have more fun with Mark Ronson’s “Uptown Funk” than should be allowed, showing off not just their ability to convey the silly hedonism of the words (“I’m too hot (hot damn) / Called a police and a fireman”), but also some serious choreographic chops. You’re unlikely to see so many dudes move so well outside of a professional dance company.\u003c/p>\n\u003cp>Then there are some superb arrangements. In particular, Dave Caldwell’s gorgeous take on Mumford & Sons’ “I Will Wait,” with its mellifluous tinklings on the keys, plucks at more than piano strings. And in the second half of the program — which (sort of disappointingly) moves away from the boy band theme and into more standard Gay Chorus repertoire of musical theater numbers and other tunes that register high on the sentimentality scale — there’s Mitch Galli’s impressive, heavily a cappella version “It’s Raining Men.” Like some of the other numbers on the program, the song is performed by a smaller subset of the big choir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Nourse Theater isn’t a great place to hear vocal music. The proscenium, coupled with a poor sound system, muffles the power and clarity of the singing. This is the one thing that might stand in the way of a girl ripping off her panties and throwing them at the stage. Still, these heartthrobs certainly got me close.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Catch the San Francisco Gay Men’s Chorus in \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\" rel=\"noopener\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a> at the Nourse Theater in San Francisco on Saturday, Jun 25 at 2.30pm and 8.00pm. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> if not just a really, REALLY big boy band?\u003c/p>\n\u003cp>The members of the roughly 230-member ensemble certainly have the voices, moves and hairdos to match. That much is clear as they work their way through a slew of hits by pop history’s most female-scream-inducing male groups, from The Beatles to Boyz II Men, in their latest concert program, \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11735767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11735767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg\" alt=\"The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4698-e1466876398359-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Mens Chorus in ‘Heartthrobs: Biggest Boy Band Ever’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those of us who can tear ourselves away from the big shindig going on at Civic Center this weekend, Heartthrobs is bound to be one of the highlights of \u003ca href=\"http://www.sfpride.org/\" target=\"_blank\" rel=\"noopener\">Pride 2016\u003c/a>.\u003c/p>\n\u003cp>The Boy band repertoire is a guilty pleasure for many, and this chorus truly knows how to milk a sappy lyric. The singers push One Direction’s “What Makes You Beautiful” beyond the manufactured, and into the realms of the sighing-sweet. They have more fun with Mark Ronson’s “Uptown Funk” than should be allowed, showing off not just their ability to convey the silly hedonism of the words (“I’m too hot (hot damn) / Called a police and a fireman”), but also some serious choreographic chops. You’re unlikely to see so many dudes move so well outside of a professional dance company.\u003c/p>\n\u003cp>Then there are some superb arrangements. In particular, Dave Caldwell’s gorgeous take on Mumford & Sons’ “I Will Wait,” with its mellifluous tinklings on the keys, plucks at more than piano strings. And in the second half of the program — which (sort of disappointingly) moves away from the boy band theme and into more standard Gay Chorus repertoire of musical theater numbers and other tunes that register high on the sentimentality scale — there’s Mitch Galli’s impressive, heavily a cappella version “It’s Raining Men.” Like some of the other numbers on the program, the song is performed by a smaller subset of the big choir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Nourse Theater isn’t a great place to hear vocal music. The proscenium, coupled with a poor sound system, muffles the power and clarity of the singing. This is the one thing that might stand in the way of a girl ripping off her panties and throwing them at the stage. Still, these heartthrobs certainly got me close.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Catch the San Francisco Gay Men’s Chorus in \u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\" rel=\"noopener\">\u003cem>Heartthrobs: Biggest Boy Band Ever\u003c/em>\u003c/a> at the Nourse Theater in San Francisco on Saturday, Jun 25 at 2.30pm and 8.00pm. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years",
"title": "Adios, Greg Ashley: A Look Back at the Psychedelic Savant's Oakland Years",
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"content": "\u003cp>Greg Ashley had a round trip ticket to France paid for and weeks of shows booked all across the country with his friends, the Inaniel Swims. He arrived at SFO with everything he needed for the trip, ready to do what he’s done since high school: play music for people. But he didn’t catch his flight.\u003c/p>\n\u003cp>“I got to the terminal and pretty much had a nervous breakdown,” said Ashley.\u003c/p>\n\u003cp>The day before, May 26, Ashley and his 12 roommates at the Ghost Town Gallery in Oakland had an eviction notice posted on their door telling them they had five days to move out. This sent Ashley scrambling to find somewhere to store all the equipment from Creamery Analog, the recording studio he ran for nine years inside the gallery.\u003c/p>\n\u003cfigure id=\"attachment_11727401\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg\" alt=\"Ashley's version of the Leonard Cohen album, 'Death of Ladies Man'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ashley’s version of the Leonard Cohen album, ‘Death of Ladies Man’ \u003ccite>(Photo: Courtesy of Guitars and Bongos Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley, who was once called “\u003ca href=\"http://www.sfweekly.com/sanfrancisco/slip-inside-this-house/Content?oid=2162208\" target=\"_blank\" rel=\"noopener\">a true psychedelic visionary, maybe the greatest of his generation,\u003c/a>” recorded hundreds of projects at his studio, some groups coming as far away as France and Japan to work with him. But despite always paying his rent and even covering those who were short, he had to leave — an Alameda County judge ordered him and his roommates to do so two weeks before.\u003c/p>\n\u003cp>A bunch of Ashley’s friends came to his aid and helped him move out of the warehouse, allowing him to tour France, but he was still losing both his home and business. So, while sitting at the airport, unable to calm down, Ashley called his girlfriend. Hearing the panic in his voice, she bought him a plane ticket to Austin, Texas. That’s where he was calling from when he told me he wasn’t coming back to Oakland. He’s moving his studio to the Lone Star state.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t think I can afford anything in California,” he said. “If I win the lottery, I’ll be back.”\u003c/p>\n\u003cp>\u003cb>A Green Dream\u003c/b>\u003c/p>\n\u003cp>Ashley moved to Oakland from Houston back in 2002. He had wanted to move to the Bay Area since his band the Mirrors played Cloyne Court in Berkeley the year before. The band was better received then they ever were in Texas, and the weather that night in the East Bay was heavenly compared to Houston’s harsh summer heat.\u003c/p>\n\u003cp>“Nobody gave a sh*t about my garage band in Houston,” Ashley said. “People liked my music out here. I got to meet one of heroes, Russell Quan of the Mummies, and he was a fan of my band.”\u003c/p>\n\u003cp>“And these kids had a keg outside that wasn’t even iced down because you don’t really need to — the weather’s perfect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sumUx6RY3Jw\u003c/p>\n\u003cp>One of the people he met at the Cloyne show was Oscar Michel, who became a good friend almost instantly. A bassist, Michel began playing music with Ashley soon after he arrived in Oakland.\u003c/p>\n\u003cp>“He was just a sweet, genuine kid who just wanted to create and make music. He was obsessed with Leonard Cohen,” Michel said. “I feel like all those kids from Texas were way more musically mature than we were out here.”\u003c/p>\n\u003cp>The duo went by Medicine F*ck Dream — the name of Ashley’s first solo album — and only played a few shows before setting up a national tour that would end in New York.\u003c/p>\n\u003cp>“He had a bunch of material so we decided to book a tour. We just f*ckin’ went for it,” Michel said.\u003c/p>\n\u003cp>They didn’t complete the tour, calling it quits in Texas and heading their separate ways.\u003c/p>\n\u003cp>“I remember eating Wonder Bread with Sriracha on it — that was breakfast, lunch and dinner — sitting in a parking lot in New Mexico, wondering if we had enough gas to make it to the next show,” Michel said.\u003c/p>\n\u003cp>When Ashley and Michel made it back to Oakland a while later, they tried being in a band again. This time they’d call themselves the Gris Gris, after the Dr. John album. They became a trio after Michel’s drummer friend Joe Haener joined and soon they were a local favorite, winning over crowds at dives like the Stork Club with their reverb-soaked folk-garage. (Later they were termed “neo-psych.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QKPzE_8AF4\u003c/p>\n\u003cp>David Katznelson, owner of Birdman Records and a former head of A&R for Warner Bros, was in one of those crowds. He signed them to his label in 2003, a year after the band began.\u003c/p>\n\u003cp>“I was instantly captivated by the band and loved the show. The songs, Greg’s voice, the whole vibe was amazing,” Katzenlson, who signed the Flaming Lips, among others, to Warner Bros. “I fell in love with the musical world of Greg Ashley on the spot.”\u003c/p>\n\u003cp>The first Gris Gris album \u003ca href=\"http://pitchfork.com/reviews/albums/3658-the-gris-gris/\" target=\"_blank\" rel=\"noopener\">received a 7.0 on \u003cem>Pitchfork\u003c/em>\u003c/a>\u003cem> —\u003c/em> and this time, when the band toured, they came back with money in their pockets.\u003c/p>\n\u003cp>Keyboardist Lars Kullberg later joined, and the band would go on to record two more albums before breaking up in 2005. By then, the Gris Gris had toured all over the U.S. and the U.K., and had fans like Karen O from the Yeah Yeah Yeahs and the Flaming Lips’ Wayne Coyne.\u003c/p>\n\u003cp>Ashley kept making music, playing with Sir Lord Von Raven and working on his own material, releasing a few solo records along the way. Two years later, he’d turn his home and his mastery of reverb into a business. \u003c/p>\n\u003cp>\u003cb>The Nonstop Tape\u003c/b>\u003c/p>\n\u003cp>Since he first bought an Tascam 8-track reel-to-reel back when he was in Texas, Ashley has been recording music non-stop. Which is part of the reason he could never find a permanent place to live in Oakland; the few times he did have a steady place, like the storefront on Broadway or the apartment on Grand Avenue, he says he got kicked out because he made music there.\u003c/p>\n\u003cp>In the meantime, Ashley managed to make remarkably good lo-fi home recordings wherever he could and with whatever equipment he had available.\u003c/p>\n\u003cp>“He had an apartment off of Grand Avenue, near the lake (Lake Merritt). It was a tiny studio apartment and he had his tape machine there. This was before Gris Gris — he was recording a lot of his first solo record,” Michel said. “I wasn’t even a part of it; I was just there, hanging out with him and watching him do his thing. And he told me, ‘Hey, can you hold this button down while I record this solo? It’s broken.'”\u003c/p>\n\u003cp>In a few cases, Ashley used temporary spaces where playing loud music wasn’t a problem. When he recorded the band Battleship, he rented out the Stork Club on a Tuesday afternoon. He recorded the first Gris Gris in the basement of a house the two shared in El Cerrito.\u003c/p>\n\u003cp>“Home of Metallica and Creedence (Clearwater Revival)!” Michel said.\u003c/p>\n\u003cfigure id=\"attachment_11727405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8894-800x532.jpg\" alt=\"Ashley at work in Creamery Analog\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">Ashley at work in Creamery Analog \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley had gone to a few shows at the Ghost Town Gallery and even stayed there for a short while when he was down-and-out before he moved in in 2006. He didn’t like the neighborhood that surrounded the old creamery at all — one of the first times he went to a show there, someone smashed one of his car windows. But the young, artistically-minded tenants, most of them musicians themselves, didn’t care that he recorded music all day and the space sounded really good.\u003c/p>\n\u003cp>“I stayed there for a week in 2003,” Ashley said. “I remember going around the building, and that room that I eventually used for a reverb chamber had a trampoline in it and somebody had left some tabla drums. I remember hanging out there with some weirdo hippie chick who was jumping on the trampoline and I was playing those tabla drums, and I thought ‘This is kinda weird, but this room sounds amazing!'”\u003c/p>\n\u003cp>Ashley turned his bedroom into a control room and pieced together whatever equipment he could to start the studio. His mixer, probably the second most important part of his studio after his Tascam 16-track, was found abandoned in another room of Ghost Town. So, he charged $15 an hour for his studio and services, which allowed for friends and up-and-coming artists to afford to record there. Over time, he learned how to make it all sound good.\u003c/p>\n\u003cp>“If you listen to the Sir Lord Von Raven record, since it took us seven years to record, you’ll hear the fidelity get better throughout it,” Ashley said. “You’ll be able figure out which era of my studio was what because it goes from ‘I don’t know what the f*ck I’m doing’ to ‘I know exactly what I’m doing.'”\u003c/p>\n\u003cp>By 2009, Ashley was recording bands like the Mantles and Dutchess and the Duke, and magazines such as \u003ci>Mojo\u003c/i> would be filled with reviews of releases he recorded, all of them dropping his name.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUq_UJyPfeY\u003c/p>\n\u003cp>“He was able to not only conjure up the warmest, biggest noises in that room, but also capture them to tape,” Dutchess and Duke’s Kimberly Morrison said. “Recording at the Creamery was remarkable… I felt like Ariel in \u003ci>The Little Mermaid\u003c/i> when she finally gets her voice and she can’t even believe she’s the one making such sounds.”\u003c/p>\n\u003cp>Around that time is when Ashley increased his hourly rate to $30 an hour. He says he had to because the Bay Area was getting more expensive, but it allowed him to quit his part-time job cutting lenses at an optometrist’s office and finally work on music full-time.\u003c/p>\n\u003cp>“For four or five years, it was my only source of income,” Ashley said. “I wouldn’t say I was doing really well, but I wasn’t in debt.”\u003c/p>\n\u003cp>\u003cb>Apple Pie and Genocide\u003c/b>\u003c/p>\n\u003cp>Back in April of this year, the tenants of Ghost Town Gallery \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town?source=infinite-up\" target=\"_blank\" rel=\"noopener\">went to court \u003c/a>to stop their landlord from evicting them. For over a decade the former creamery on San Pablo was a creative epicenter of West Oakland, hosting bands such as Deerhoof, Xiu Xiu and \u003ca href=\"http://www.sfweekly.com/shookdown/2015/08/26/we-followed-thee-oh-sees-to-a-packed-last-minute-show-in-oakland\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a>. According to reports, Ghost Town’s owner Mehrdad Dokhanchy pushed them out because there were too many people living there and modifications the tenants made to the building were endangering its residents.\u003c/p>\n\u003cp>Ashley didn’t get involved. It was bad enough that his recording work had declined over the previous years, forcing him to go back to his part-time job at the optometrist’s office. He just wanted to concentrate on making music.\u003c/p>\n\u003cp>“I just couldn’t deal with it,” Ashley said. “The walls were paper thin and every day I heard people threatening to kill each other in the hallway.”\u003c/p>\n\u003cfigure id=\"attachment_11727409\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg\" alt=\"Ashley and Oscar Michel recording at the Creamery\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943.jpg 532w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Ashley and Oscar Michel recording at the Creamery \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night the eviction notice was posted on the Ghost Town Gallery door might as well have been a wake. He and his friends listened to recordings he made there over the years while they packed everything up. \u003ca href=\"http://chrisstroffolino.blogspot.com/2016/05/oaklands-creamery-studio-latest.html\" target=\"_blank\" rel=\"noopener\">The Creamery memorial was documented\u003c/a> by a frequent collaborator with Ashley, Chris Stroffolino.\u003c/p>\n\u003cp>“I’ve worked at more expensive (and more “state of the art”) studios, and The Creamery was better than all of them,” Stroffolino wrote on his blog. “Greg provided a much-needed service to the community, and was able to eke out a living as a musician/producer in an era where that is becoming increasingly impossible (unless one is willing to relocate to LA or Nashville, and sell one’s soul to the corporate conglomerates).”\u003c/p>\n\u003cp>While sitting in Texas, planning his next move (probably setting up a new studio outside of Austin), Ashley tells me that what bothers him now is how he left some of his friends’ projects in the lurch. A series of recording dates were canceled — some bands had already bought plane tickets to fly to Oakland — and he was in the middle of working on a friend’s solo project that will have to be shelved now. There are other studios in Oakland those bands can use — there’s even one across the street from the Creamery called \u003ca href=\"https://www.facebook.com/santorecordings/\" target=\"_blank\" rel=\"noopener\">Santo Recording\u003c/a> — but they’re nothing like what Ashley had created with the Creamery.\u003c/p>\n\u003cp>“It’s a lot prettier inside Santo,” Ashley said. “But they charge twice as much as I do. And they won’t let you smoke cigarettes, but whatever.”\u003c/p>\n\u003cp>\u003ci>Below is a song Ashley recorded in Texas about leaving Oakland. \u003cb>Warning:\u003c/b> there are some explicit lyrics.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/267579107″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Ashley had a round trip ticket to France paid for and weeks of shows booked all across the country with his friends, the Inaniel Swims. He arrived at SFO with everything he needed for the trip, ready to do what he’s done since high school: play music for people. But he didn’t catch his flight.\u003c/p>\n\u003cp>“I got to the terminal and pretty much had a nervous breakdown,” said Ashley.\u003c/p>\n\u003cp>The day before, May 26, Ashley and his 12 roommates at the Ghost Town Gallery in Oakland had an eviction notice posted on their door telling them they had five days to move out. This sent Ashley scrambling to find somewhere to store all the equipment from Creamery Analog, the recording studio he ran for nine years inside the gallery.\u003c/p>\n\u003cfigure id=\"attachment_11727401\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg\" alt=\"Ashley's version of the Leonard Cohen album, 'Death of Ladies Man'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ashley’s version of the Leonard Cohen album, ‘Death of Ladies Man’ \u003ccite>(Photo: Courtesy of Guitars and Bongos Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley, who was once called “\u003ca href=\"http://www.sfweekly.com/sanfrancisco/slip-inside-this-house/Content?oid=2162208\" target=\"_blank\" rel=\"noopener\">a true psychedelic visionary, maybe the greatest of his generation,\u003c/a>” recorded hundreds of projects at his studio, some groups coming as far away as France and Japan to work with him. But despite always paying his rent and even covering those who were short, he had to leave — an Alameda County judge ordered him and his roommates to do so two weeks before.\u003c/p>\n\u003cp>A bunch of Ashley’s friends came to his aid and helped him move out of the warehouse, allowing him to tour France, but he was still losing both his home and business. So, while sitting at the airport, unable to calm down, Ashley called his girlfriend. Hearing the panic in his voice, she bought him a plane ticket to Austin, Texas. That’s where he was calling from when he told me he wasn’t coming back to Oakland. He’s moving his studio to the Lone Star state.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t think I can afford anything in California,” he said. “If I win the lottery, I’ll be back.”\u003c/p>\n\u003cp>\u003cb>A Green Dream\u003c/b>\u003c/p>\n\u003cp>Ashley moved to Oakland from Houston back in 2002. He had wanted to move to the Bay Area since his band the Mirrors played Cloyne Court in Berkeley the year before. The band was better received then they ever were in Texas, and the weather that night in the East Bay was heavenly compared to Houston’s harsh summer heat.\u003c/p>\n\u003cp>“Nobody gave a sh*t about my garage band in Houston,” Ashley said. “People liked my music out here. I got to meet one of heroes, Russell Quan of the Mummies, and he was a fan of my band.”\u003c/p>\n\u003cp>“And these kids had a keg outside that wasn’t even iced down because you don’t really need to — the weather’s perfect.”\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/sumUx6RY3Jw'\n title='//www.youtube.com/embed/sumUx6RY3Jw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the people he met at the Cloyne show was Oscar Michel, who became a good friend almost instantly. A bassist, Michel began playing music with Ashley soon after he arrived in Oakland.\u003c/p>\n\u003cp>“He was just a sweet, genuine kid who just wanted to create and make music. He was obsessed with Leonard Cohen,” Michel said. “I feel like all those kids from Texas were way more musically mature than we were out here.”\u003c/p>\n\u003cp>The duo went by Medicine F*ck Dream — the name of Ashley’s first solo album — and only played a few shows before setting up a national tour that would end in New York.\u003c/p>\n\u003cp>“He had a bunch of material so we decided to book a tour. We just f*ckin’ went for it,” Michel said.\u003c/p>\n\u003cp>They didn’t complete the tour, calling it quits in Texas and heading their separate ways.\u003c/p>\n\u003cp>“I remember eating Wonder Bread with Sriracha on it — that was breakfast, lunch and dinner — sitting in a parking lot in New Mexico, wondering if we had enough gas to make it to the next show,” Michel said.\u003c/p>\n\u003cp>When Ashley and Michel made it back to Oakland a while later, they tried being in a band again. This time they’d call themselves the Gris Gris, after the Dr. John album. They became a trio after Michel’s drummer friend Joe Haener joined and soon they were a local favorite, winning over crowds at dives like the Stork Club with their reverb-soaked folk-garage. (Later they were termed “neo-psych.”)\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/2QKPzE_8AF4'\n title='//www.youtube.com/embed/2QKPzE_8AF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Katznelson, owner of Birdman Records and a former head of A&R for Warner Bros, was in one of those crowds. He signed them to his label in 2003, a year after the band began.\u003c/p>\n\u003cp>“I was instantly captivated by the band and loved the show. The songs, Greg’s voice, the whole vibe was amazing,” Katzenlson, who signed the Flaming Lips, among others, to Warner Bros. “I fell in love with the musical world of Greg Ashley on the spot.”\u003c/p>\n\u003cp>The first Gris Gris album \u003ca href=\"http://pitchfork.com/reviews/albums/3658-the-gris-gris/\" target=\"_blank\" rel=\"noopener\">received a 7.0 on \u003cem>Pitchfork\u003c/em>\u003c/a>\u003cem> —\u003c/em> and this time, when the band toured, they came back with money in their pockets.\u003c/p>\n\u003cp>Keyboardist Lars Kullberg later joined, and the band would go on to record two more albums before breaking up in 2005. By then, the Gris Gris had toured all over the U.S. and the U.K., and had fans like Karen O from the Yeah Yeah Yeahs and the Flaming Lips’ Wayne Coyne.\u003c/p>\n\u003cp>Ashley kept making music, playing with Sir Lord Von Raven and working on his own material, releasing a few solo records along the way. Two years later, he’d turn his home and his mastery of reverb into a business. \u003c/p>\n\u003cp>\u003cb>The Nonstop Tape\u003c/b>\u003c/p>\n\u003cp>Since he first bought an Tascam 8-track reel-to-reel back when he was in Texas, Ashley has been recording music non-stop. Which is part of the reason he could never find a permanent place to live in Oakland; the few times he did have a steady place, like the storefront on Broadway or the apartment on Grand Avenue, he says he got kicked out because he made music there.\u003c/p>\n\u003cp>In the meantime, Ashley managed to make remarkably good lo-fi home recordings wherever he could and with whatever equipment he had available.\u003c/p>\n\u003cp>“He had an apartment off of Grand Avenue, near the lake (Lake Merritt). It was a tiny studio apartment and he had his tape machine there. This was before Gris Gris — he was recording a lot of his first solo record,” Michel said. “I wasn’t even a part of it; I was just there, hanging out with him and watching him do his thing. And he told me, ‘Hey, can you hold this button down while I record this solo? It’s broken.'”\u003c/p>\n\u003cp>In a few cases, Ashley used temporary spaces where playing loud music wasn’t a problem. When he recorded the band Battleship, he rented out the Stork Club on a Tuesday afternoon. He recorded the first Gris Gris in the basement of a house the two shared in El Cerrito.\u003c/p>\n\u003cp>“Home of Metallica and Creedence (Clearwater Revival)!” Michel said.\u003c/p>\n\u003cfigure id=\"attachment_11727405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8894-800x532.jpg\" alt=\"Ashley at work in Creamery Analog\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">Ashley at work in Creamery Analog \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley had gone to a few shows at the Ghost Town Gallery and even stayed there for a short while when he was down-and-out before he moved in in 2006. He didn’t like the neighborhood that surrounded the old creamery at all — one of the first times he went to a show there, someone smashed one of his car windows. But the young, artistically-minded tenants, most of them musicians themselves, didn’t care that he recorded music all day and the space sounded really good.\u003c/p>\n\u003cp>“I stayed there for a week in 2003,” Ashley said. “I remember going around the building, and that room that I eventually used for a reverb chamber had a trampoline in it and somebody had left some tabla drums. I remember hanging out there with some weirdo hippie chick who was jumping on the trampoline and I was playing those tabla drums, and I thought ‘This is kinda weird, but this room sounds amazing!'”\u003c/p>\n\u003cp>Ashley turned his bedroom into a control room and pieced together whatever equipment he could to start the studio. His mixer, probably the second most important part of his studio after his Tascam 16-track, was found abandoned in another room of Ghost Town. So, he charged $15 an hour for his studio and services, which allowed for friends and up-and-coming artists to afford to record there. Over time, he learned how to make it all sound good.\u003c/p>\n\u003cp>“If you listen to the Sir Lord Von Raven record, since it took us seven years to record, you’ll hear the fidelity get better throughout it,” Ashley said. “You’ll be able figure out which era of my studio was what because it goes from ‘I don’t know what the f*ck I’m doing’ to ‘I know exactly what I’m doing.'”\u003c/p>\n\u003cp>By 2009, Ashley was recording bands like the Mantles and Dutchess and the Duke, and magazines such as \u003ci>Mojo\u003c/i> would be filled with reviews of releases he recorded, all of them dropping his name.\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/rUq_UJyPfeY'\n title='//www.youtube.com/embed/rUq_UJyPfeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was able to not only conjure up the warmest, biggest noises in that room, but also capture them to tape,” Dutchess and Duke’s Kimberly Morrison said. “Recording at the Creamery was remarkable… I felt like Ariel in \u003ci>The Little Mermaid\u003c/i> when she finally gets her voice and she can’t even believe she’s the one making such sounds.”\u003c/p>\n\u003cp>Around that time is when Ashley increased his hourly rate to $30 an hour. He says he had to because the Bay Area was getting more expensive, but it allowed him to quit his part-time job cutting lenses at an optometrist’s office and finally work on music full-time.\u003c/p>\n\u003cp>“For four or five years, it was my only source of income,” Ashley said. “I wouldn’t say I was doing really well, but I wasn’t in debt.”\u003c/p>\n\u003cp>\u003cb>Apple Pie and Genocide\u003c/b>\u003c/p>\n\u003cp>Back in April of this year, the tenants of Ghost Town Gallery \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town?source=infinite-up\" target=\"_blank\" rel=\"noopener\">went to court \u003c/a>to stop their landlord from evicting them. For over a decade the former creamery on San Pablo was a creative epicenter of West Oakland, hosting bands such as Deerhoof, Xiu Xiu and \u003ca href=\"http://www.sfweekly.com/shookdown/2015/08/26/we-followed-thee-oh-sees-to-a-packed-last-minute-show-in-oakland\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a>. According to reports, Ghost Town’s owner Mehrdad Dokhanchy pushed them out because there were too many people living there and modifications the tenants made to the building were endangering its residents.\u003c/p>\n\u003cp>Ashley didn’t get involved. It was bad enough that his recording work had declined over the previous years, forcing him to go back to his part-time job at the optometrist’s office. He just wanted to concentrate on making music.\u003c/p>\n\u003cp>“I just couldn’t deal with it,” Ashley said. “The walls were paper thin and every day I heard people threatening to kill each other in the hallway.”\u003c/p>\n\u003cfigure id=\"attachment_11727409\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg\" alt=\"Ashley and Oscar Michel recording at the Creamery\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943.jpg 532w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Ashley and Oscar Michel recording at the Creamery \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night the eviction notice was posted on the Ghost Town Gallery door might as well have been a wake. He and his friends listened to recordings he made there over the years while they packed everything up. \u003ca href=\"http://chrisstroffolino.blogspot.com/2016/05/oaklands-creamery-studio-latest.html\" target=\"_blank\" rel=\"noopener\">The Creamery memorial was documented\u003c/a> by a frequent collaborator with Ashley, Chris Stroffolino.\u003c/p>\n\u003cp>“I’ve worked at more expensive (and more “state of the art”) studios, and The Creamery was better than all of them,” Stroffolino wrote on his blog. “Greg provided a much-needed service to the community, and was able to eke out a living as a musician/producer in an era where that is becoming increasingly impossible (unless one is willing to relocate to LA or Nashville, and sell one’s soul to the corporate conglomerates).”\u003c/p>\n\u003cp>While sitting in Texas, planning his next move (probably setting up a new studio outside of Austin), Ashley tells me that what bothers him now is how he left some of his friends’ projects in the lurch. A series of recording dates were canceled — some bands had already bought plane tickets to fly to Oakland — and he was in the middle of working on a friend’s solo project that will have to be shelved now. There are other studios in Oakland those bands can use — there’s even one across the street from the Creamery called \u003ca href=\"https://www.facebook.com/santorecordings/\" target=\"_blank\" rel=\"noopener\">Santo Recording\u003c/a> — but they’re nothing like what Ashley had created with the Creamery.\u003c/p>\n\u003cp>“It’s a lot prettier inside Santo,” Ashley said. “But they charge twice as much as I do. And they won’t let you smoke cigarettes, but whatever.”\u003c/p>\n\u003cp>\u003ci>Below is a song Ashley recorded in Texas about leaving Oakland. \u003cb>Warning:\u003c/b> there are some explicit lyrics.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=yJPw789HSwY\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1yr8w_vZ5E\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ji-EdRtL9qU\u003c/p>\n\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ug3IBfgOhs\u003c/p>\n\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PN0RPWII7gY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\u003c/aside>\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/yJPw789HSwY'\n title='//www.youtube.com/embed/yJPw789HSwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s1yr8w_vZ5E'\n title='//www.youtube.com/embed/s1yr8w_vZ5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ji-EdRtL9qU'\n title='//www.youtube.com/embed/ji-EdRtL9qU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2ug3IBfgOhs'\n title='//www.youtube.com/embed/2ug3IBfgOhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PN0RPWII7gY'\n title='//www.youtube.com/embed/PN0RPWII7gY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jury-finds-led-zeppelin-did-not-steal-riff-for-stairway",
"title": "Jury Finds Led Zeppelin Did Not Steal Riff for 'Stairway'",
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"headTitle": "Jury Finds Led Zeppelin Did Not Steal Riff for ‘Stairway’ | KQED",
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"content": "\u003cp>Led Zeppelin did not steal a riff from an obscure 1960s instrumental tune to use for the introduction of its classic rock anthem “Stairway to Heaven,” a federal court jury decided Thursday.\u003c/p>\n\u003cp>The verdict in Los Angeles settles a point that music fans have debated for decades but didn’t find its way to court until two years ago, when the trustee for the late Randy Craig Wolfe filed a copyright lawsuit.\u003c/p>\n\u003cp>The trust claimed that Led Zeppelin guitarist Jimmy Page lifted a passage that Wolfe, better known as Randy California, wrote for “Taurus,” a short work he recorded with his band Spirit in 1968.\u003c/p>\n\u003cp>Page and singer Robert Plant showed little emotion as the verdict was read then hugged their lawyers.\u003c/p>\n\u003cp>Jurors found the trust had cleared a few hurdles, including that Page and Plant had “access” to “Taurus,” meaning they would have been familiar with it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trust attorney Francis Malofiy said he was sad and disappointed by the jury’s decision.\u003c/p>\n\u003cp>“The reality is that we proved access, but they could never hear what they had access to,” Malofiy said. “It’s bizarre.”\u003c/p>\n\u003cp>In trying to show the works were substantially similar, the trust had the tricky task of relying on sheet music because that’s what is filed with the U.S. Copyright Office.\u003c/p>\n\u003cp>Jurors were not played the “Taurus” recording, which contains a section that sounds very similar to the instantly recognizable start of “Stairway.” Instead, they were played guitar and piano renditions by musicians on both sides of the case. Not surprisingly, the plaintiff’s version on guitar sounded more like “Stairway” than the defense version on piano.\u003c/p>\n\u003cp>Page and Plant, who wrote the “Stairway” lyrics, said their creation was an original. In several hours of often-animated and amusing testimony, they described the craft behind one of rock’s best-known songs, all the while denying knowledge of one of the genre’s least-known tunes.\u003c/p>\n\u003cp>Plant cracked up the courtroom when said he didn’t remember most people he had hung out with over the years.\u003c/p>\n\u003cp>In closing arguments, Malofiy criticized Page and Plant’s “selective” memories and “convenient” truths on the witness stand.\u003c/p>\n\u003cp>Experts for both sides dissected both compositions, agreeing mainly that they shared a descending chord progression that dates back three centuries as a building block in lots of songs.\u003c/p>\n\u003cp>The trust’s experts, however, went further and noted several other similarities that made the two works unlike the many other tunes they were compared to, including “My Funny Valentine,” and The Beatles’ “Michelle.”\u003c/p>\n\u003cp>Led Zeppelin’s lawyer said the trust didn’t own the copyright and that the plaintiff failed to prove a case that should have been brought more than 40 years ago when Wolfe was alive and Page and singer Robert Plant would have had better memories.\u003c/p>\n\u003cp>“How can you wait a half century and criticize people … 45 years later for the delay you caused?” Peter Anderson said. “They should have sued in 1972.”\u003c/p>\n\u003cp>Wolfe, who drowned in 1997 saving his son at a beach in Hawaii, had spoken with lawyers over the years about suing, but they never took on the case because it was old, said Glen Kulik another lawyer for the trust. A Supreme Court ruling in 2014 over the movie “Raging Bull” opened the door to bring a copyright case at any time with damages only dating back three years and continuing into the future.\u003c/p>\n\u003cp>Malofiy asked jurors to give Wolfe a songwriting credit and millions of dollars in damages, though he didn’t provide a specific figure. The defense said record label profits from the past five years were $868,000, but Anderson reminded jurors that only a fraction of the eight-minute song was being challenged.\u003c/p>\n\u003cp>The trial took jurors and lucky observers who managed to pack into the courtroom on a musical journey through the late 1960s and early 1970s, when Spirit, a California psychedelic group that blended jazz and rock was achieving stardom as the hard-rocking British band was being founded.\u003c/p>\n\u003cp>Stops on the tour of testimony included Spirit shows at “love-ins” during the “Summer of Love,” Led Zeppelin’s U.S. debut as an opening act for Spirit and Vanilla Fudge in Denver in December 1968 and, finally, to a country house in the south of England where Page, Plant and bassist John Paul Jones described how “Stairway” was born.\u003c/p>\n\u003cp>Page said his ambition was to write a song that would accelerate to a crescendo and he first shared the opening with keyboardist and bassist John Paul Jones to get an ally in his scheme.\u003c/p>\n\u003cp>Singer Robert Plant said he was sitting by the fire at Headley Grange in the spring of 1970, when Page played the intro on acoustic guitar and he offered the start of a couplet he had been working on: “There’s a lady who’s sure all that glitters is gold/and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>Jurors never heard a note from Page or Plant live, but they were treated to lo-fi vintage recordings of the band creating the song, renditions on guitar and piano by other musicians and, finally, the full recording of one of rock’s most enduring anthems.\u003c/p>\n\u003cp>Page, 72, bobbed his head and moved to the tune while Plant, 67, sat still. Both men wore sharp suits, white shirts and ties throughout the trial and had their hair pulled back in neat ponytails.\u003c/p>\n\u003cp>They didn’t chat with anyone in the gallery, including several fans, and were escorted by personal bodyguards to the restroom and in and out of the federal courthouse each day. One afternoon, a group of women clapped and Page flashed a smile as the rock stars were hustled across the courthouse corridor to a private hallway.\u003c/p>\n\u003cp>The case is not the first time Led Zeppelin was accused of swiping another artist’s work. The lawsuit listed at least six other songs in which the band reached settlements over songwriting credits for works including “Whole Lotta Love,” ”The Lemon Song,” and “Dazed and Confused.”\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Led Zeppelin did not steal a riff from an obscure 1960s instrumental tune to use for the introduction of its classic rock anthem “Stairway to Heaven,” a federal court jury decided Thursday.\u003c/p>\n\u003cp>The verdict in Los Angeles settles a point that music fans have debated for decades but didn’t find its way to court until two years ago, when the trustee for the late Randy Craig Wolfe filed a copyright lawsuit.\u003c/p>\n\u003cp>The trust claimed that Led Zeppelin guitarist Jimmy Page lifted a passage that Wolfe, better known as Randy California, wrote for “Taurus,” a short work he recorded with his band Spirit in 1968.\u003c/p>\n\u003cp>Page and singer Robert Plant showed little emotion as the verdict was read then hugged their lawyers.\u003c/p>\n\u003cp>Jurors found the trust had cleared a few hurdles, including that Page and Plant had “access” to “Taurus,” meaning they would have been familiar with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trust attorney Francis Malofiy said he was sad and disappointed by the jury’s decision.\u003c/p>\n\u003cp>“The reality is that we proved access, but they could never hear what they had access to,” Malofiy said. “It’s bizarre.”\u003c/p>\n\u003cp>In trying to show the works were substantially similar, the trust had the tricky task of relying on sheet music because that’s what is filed with the U.S. Copyright Office.\u003c/p>\n\u003cp>Jurors were not played the “Taurus” recording, which contains a section that sounds very similar to the instantly recognizable start of “Stairway.” Instead, they were played guitar and piano renditions by musicians on both sides of the case. Not surprisingly, the plaintiff’s version on guitar sounded more like “Stairway” than the defense version on piano.\u003c/p>\n\u003cp>Page and Plant, who wrote the “Stairway” lyrics, said their creation was an original. In several hours of often-animated and amusing testimony, they described the craft behind one of rock’s best-known songs, all the while denying knowledge of one of the genre’s least-known tunes.\u003c/p>\n\u003cp>Plant cracked up the courtroom when said he didn’t remember most people he had hung out with over the years.\u003c/p>\n\u003cp>In closing arguments, Malofiy criticized Page and Plant’s “selective” memories and “convenient” truths on the witness stand.\u003c/p>\n\u003cp>Experts for both sides dissected both compositions, agreeing mainly that they shared a descending chord progression that dates back three centuries as a building block in lots of songs.\u003c/p>\n\u003cp>The trust’s experts, however, went further and noted several other similarities that made the two works unlike the many other tunes they were compared to, including “My Funny Valentine,” and The Beatles’ “Michelle.”\u003c/p>\n\u003cp>Led Zeppelin’s lawyer said the trust didn’t own the copyright and that the plaintiff failed to prove a case that should have been brought more than 40 years ago when Wolfe was alive and Page and singer Robert Plant would have had better memories.\u003c/p>\n\u003cp>“How can you wait a half century and criticize people … 45 years later for the delay you caused?” Peter Anderson said. “They should have sued in 1972.”\u003c/p>\n\u003cp>Wolfe, who drowned in 1997 saving his son at a beach in Hawaii, had spoken with lawyers over the years about suing, but they never took on the case because it was old, said Glen Kulik another lawyer for the trust. A Supreme Court ruling in 2014 over the movie “Raging Bull” opened the door to bring a copyright case at any time with damages only dating back three years and continuing into the future.\u003c/p>\n\u003cp>Malofiy asked jurors to give Wolfe a songwriting credit and millions of dollars in damages, though he didn’t provide a specific figure. The defense said record label profits from the past five years were $868,000, but Anderson reminded jurors that only a fraction of the eight-minute song was being challenged.\u003c/p>\n\u003cp>The trial took jurors and lucky observers who managed to pack into the courtroom on a musical journey through the late 1960s and early 1970s, when Spirit, a California psychedelic group that blended jazz and rock was achieving stardom as the hard-rocking British band was being founded.\u003c/p>\n\u003cp>Stops on the tour of testimony included Spirit shows at “love-ins” during the “Summer of Love,” Led Zeppelin’s U.S. debut as an opening act for Spirit and Vanilla Fudge in Denver in December 1968 and, finally, to a country house in the south of England where Page, Plant and bassist John Paul Jones described how “Stairway” was born.\u003c/p>\n\u003cp>Page said his ambition was to write a song that would accelerate to a crescendo and he first shared the opening with keyboardist and bassist John Paul Jones to get an ally in his scheme.\u003c/p>\n\u003cp>Singer Robert Plant said he was sitting by the fire at Headley Grange in the spring of 1970, when Page played the intro on acoustic guitar and he offered the start of a couplet he had been working on: “There’s a lady who’s sure all that glitters is gold/and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>Jurors never heard a note from Page or Plant live, but they were treated to lo-fi vintage recordings of the band creating the song, renditions on guitar and piano by other musicians and, finally, the full recording of one of rock’s most enduring anthems.\u003c/p>\n\u003cp>Page, 72, bobbed his head and moved to the tune while Plant, 67, sat still. Both men wore sharp suits, white shirts and ties throughout the trial and had their hair pulled back in neat ponytails.\u003c/p>\n\u003cp>They didn’t chat with anyone in the gallery, including several fans, and were escorted by personal bodyguards to the restroom and in and out of the federal courthouse each day. One afternoon, a group of women clapped and Page flashed a smile as the rock stars were hustled across the courthouse corridor to a private hallway.\u003c/p>\n\u003cp>The case is not the first time Led Zeppelin was accused of swiping another artist’s work. The lawsuit listed at least six other songs in which the band reached settlements over songwriting credits for works including “Whole Lotta Love,” ”The Lemon Song,” and “Dazed and Confused.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How a Former Inmate Got Out of Prison by Making Classical Guitars",
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"content": "\u003cp>Professional musician and classical guitar teacher Gen Young recently bought a new pale-yellow guitar. It’s worth several thousand dollars and Young had to sell some instruments from his own collection just to afford it. It’s his third spanish-style guitar made by guitar maker – or “luthier” – Robert Vincent. Young says each one he owns has a different personality. “It has this beautiful, elegant sound where all the notes are separated beautifully,” Young says. “A lot of times hearing those voices separately is a really prized part of an instrument.”\u003c/p>\n\u003cp>Vincent had been making guitars by hand for close to 20 years. But unlike most luthiers, Vincent learned his craft while in prison, as part of the state’s Arts-In-Corrections program, a world-renowned initiative which brought arts programming to prisons for decades until it was cut due to budget shortfalls a few years ago. “The guitars that were coming out of that program were world-class,” says Vincent. “They were concert guitars.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wgkq33KzjC8\u003c/p>\n\u003cp>\u003cstrong>A terrible misstep\u003c/strong>\u003c/p>\n\u003cp>As a young man Vincent says he never would have guessed that he would be a fan of classical music or build the instruments that play it. He says as a teen his musical tastes were a little bit different; he was into rock bands like AC/DC.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/270524669″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>One night in the late 1980s, when he was visiting friends in Sacramento, Vincent found himself in the middle of a brawl. “The guys that I was with pulled out a gun and shot one of the other guys that we were in this altercation with,” Vincent says. “California law says I’m pretty much guilty right along with him.”\u003c/p>\n\u003cp>After a year-long jury trial, Vincent was found guilty of second degree murder. He was just 20 at the time and was given a sentence of 15 years to life.\u003c/p>\n\u003cfigure id=\"attachment_11713652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713652 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-800x600.jpg\" alt=\"Vincent's guitars are sent to dealers in L.A. and New York.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent’s guitars are sent to dealers in L.A. and New York. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Transformed by the sound of the guitar\u003c/strong>\u003c/p>\n\u003cp>It was while he was in prison at Deuel Vocational Institute in Tracy, Cali., that Vincent heard the classical guitar played live for the first time. The piece was \u003cem>Leyenda\u003c/em> by the Spanish composer Issac Albeniz. “It was just this amazing thing and I knew right then that’s what I wanted to do,” Vincent says.\u003c/p>\n\u003cp>Vincent had no musical training before he went to prison, but he says the music spoke to him. He enrolled in the prison’s guitar-making class, taught by Luthier Kenny Hill. Hill says Vincent was a natural. “He could really deal with shapes and surfaces and finishes and all of that and that showed up right away,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_11713653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-800x600.jpg\" alt=\"Robert Vincent also had a background in wood-working before getting into guitars.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Vincent also had a background in wood-working before getting into guitars. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Vincent did not take the class just for himself. He left two young sons behind after getting locked up. They were aged five and two when their father went behind bars, and they practically grew up in the prison visiting room. Vincent says guitar making gave him a way to still have a positive effect on his kids’ lives. “It was like okay my dad’s in prison but my dad’s a guitar maker,” Vincent says. “So that kind of relieved some of the stigma for them.”\u003c/p>\n\u003cp>\u003cstrong>A rising star\u003c/strong>\u003c/p>\n\u003cp>Vincent became a rising star in the prison’s guitar-making class. He built close to 30 instruments that were sent to schools and charities. He sent a guitar home to his sons. And Harry Belafonte commissioned Vincent to build a guitar for Carlos Santana as a gift.\u003c/p>\n\u003cp>Prison officials began to notice his incredible work. And after being denied twice, Vincent was granted parole in 2005. A year later he was out and wasted no time in starting up his own luthier business through connections he made in prison.\u003c/p>\n\u003cfigure id=\"attachment_11713654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713654 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-800x451.jpg\" alt=\"Tools and templates line the walls of Robert Vincent's garage.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126.jpg 1627w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tools and templates line the walls of Robert Vincent’s garage. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Vincent works out of his garage in San Diego. The space doubles as his wood-working shop. But the luthier business is tough. It’s extremely competitive and it takes months to finish a single guitar. So far Vincent is doing alright. But he’s kept quiet about his past — he says he got burned once after telling a potential client about his time in prison. He never heard back from that dealer. “I want to be judged on the merits of my art and what I’m doing now,” Vincent says.\u003c/p>\n\u003cp>\u003cstrong>Time to open up\u003c/strong>\u003c/p>\n\u003cp>But Vincent says he’s ready to open up now. He’s never shared his story with the media until now. Gen Young, the guy who owns three Vincent guitars, just found out about his close friend and collaborator’s time in prison. The two have known each other for a decade.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Young learned Vincent’s secret, he was supportive. Young says there are many parallels between the practice of music and the lives of those who are incarcerated. “A fundamental aspect of it is redemption,” Young says. “You always get the chance to play the piece again and to make it better.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Professional musician and classical guitar teacher Gen Young recently bought a new pale-yellow guitar. It’s worth several thousand dollars and Young had to sell some instruments from his own collection just to afford it. It’s his third spanish-style guitar made by guitar maker – or “luthier” – Robert Vincent. Young says each one he owns has a different personality. “It has this beautiful, elegant sound where all the notes are separated beautifully,” Young says. “A lot of times hearing those voices separately is a really prized part of an instrument.”\u003c/p>\n\u003cp>Vincent had been making guitars by hand for close to 20 years. But unlike most luthiers, Vincent learned his craft while in prison, as part of the state’s Arts-In-Corrections program, a world-renowned initiative which brought arts programming to prisons for decades until it was cut due to budget shortfalls a few years ago. “The guitars that were coming out of that program were world-class,” says Vincent. “They were concert guitars.”\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/wgkq33KzjC8'\n title='//www.youtube.com/embed/wgkq33KzjC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A terrible misstep\u003c/strong>\u003c/p>\n\u003cp>As a young man Vincent says he never would have guessed that he would be a fan of classical music or build the instruments that play it. He says as a teen his musical tastes were a little bit different; he was into rock bands like AC/DC.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/270524669″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/270524669″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One night in the late 1980s, when he was visiting friends in Sacramento, Vincent found himself in the middle of a brawl. “The guys that I was with pulled out a gun and shot one of the other guys that we were in this altercation with,” Vincent says. “California law says I’m pretty much guilty right along with him.”\u003c/p>\n\u003cp>After a year-long jury trial, Vincent was found guilty of second degree murder. He was just 20 at the time and was given a sentence of 15 years to life.\u003c/p>\n\u003cfigure id=\"attachment_11713652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713652 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-800x600.jpg\" alt=\"Vincent's guitars are sent to dealers in L.A. and New York.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19903_IMG_0080-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent’s guitars are sent to dealers in L.A. and New York. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Transformed by the sound of the guitar\u003c/strong>\u003c/p>\n\u003cp>It was while he was in prison at Deuel Vocational Institute in Tracy, Cali., that Vincent heard the classical guitar played live for the first time. The piece was \u003cem>Leyenda\u003c/em> by the Spanish composer Issac Albeniz. “It was just this amazing thing and I knew right then that’s what I wanted to do,” Vincent says.\u003c/p>\n\u003cp>Vincent had no musical training before he went to prison, but he says the music spoke to him. He enrolled in the prison’s guitar-making class, taught by Luthier Kenny Hill. Hill says Vincent was a natural. “He could really deal with shapes and surfaces and finishes and all of that and that showed up right away,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_11713653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-800x600.jpg\" alt=\"Robert Vincent also had a background in wood-working before getting into guitars.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19902_IMG_0079-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Vincent also had a background in wood-working before getting into guitars. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Vincent did not take the class just for himself. He left two young sons behind after getting locked up. They were aged five and two when their father went behind bars, and they practically grew up in the prison visiting room. Vincent says guitar making gave him a way to still have a positive effect on his kids’ lives. “It was like okay my dad’s in prison but my dad’s a guitar maker,” Vincent says. “So that kind of relieved some of the stigma for them.”\u003c/p>\n\u003cp>\u003cstrong>A rising star\u003c/strong>\u003c/p>\n\u003cp>Vincent became a rising star in the prison’s guitar-making class. He built close to 30 instruments that were sent to schools and charities. He sent a guitar home to his sons. And Harry Belafonte commissioned Vincent to build a guitar for Carlos Santana as a gift.\u003c/p>\n\u003cp>Prison officials began to notice his incredible work. And after being denied twice, Vincent was granted parole in 2005. A year later he was out and wasted no time in starting up his own luthier business through connections he made in prison.\u003c/p>\n\u003cfigure id=\"attachment_11713654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713654 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-800x451.jpg\" alt=\"Tools and templates line the walls of Robert Vincent's garage.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19904_IMG_0082-qut-e1466465941126.jpg 1627w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tools and templates line the walls of Robert Vincent’s garage. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Vincent works out of his garage in San Diego. The space doubles as his wood-working shop. But the luthier business is tough. It’s extremely competitive and it takes months to finish a single guitar. So far Vincent is doing alright. But he’s kept quiet about his past — he says he got burned once after telling a potential client about his time in prison. He never heard back from that dealer. “I want to be judged on the merits of my art and what I’m doing now,” Vincent says.\u003c/p>\n\u003cp>\u003cstrong>Time to open up\u003c/strong>\u003c/p>\n\u003cp>But Vincent says he’s ready to open up now. He’s never shared his story with the media until now. Gen Young, the guy who owns three Vincent guitars, just found out about his close friend and collaborator’s time in prison. The two have known each other for a decade.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Young learned Vincent’s secret, he was supportive. Young says there are many parallels between the practice of music and the lives of those who are incarcerated. “A fundamental aspect of it is redemption,” Young says. “You always get the chance to play the piece again and to make it better.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In my heart of hearts, I knew this was coming.\u003c/p>\n\u003cp>It was a few weeks ago now that I became vaguely aware, in that glazed-over internet osmosis way, of a new \u003cem>Ghostbusters\u003c/em> theme that had a 100 percent chance of upsetting me. Some stray \"trending\" story on Facebook, I believe, included the words \"Fall Out Boy and Missy Elliott to record \u003cem>Ghostbusters\u003c/em> theme song.\"\u003c/p>\n\u003cp>Like most trending Facebook stories -- let's see, mine currently include \"Cheetos: Frito-Lay Holds Contest To Find Uniquely-Shaped Snack Foods\" and \"Shaquille O'Neal: Ex-NBA Player Shares Image With His Face Edited Onto Dwayne Wade's Nude Body\" -- my eyes glossed over it, unable or unwilling to fully digest the information it contained.\u003c/p>\n\u003cp>But even if I had fully internalized those words, there's just no way they could have prepared me for this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AQ44nPrRTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, so some context: The \u003cem>Ghostbusters\u003c/em> remake, out July 15 and starring four very funny women in the place of the original's four funny men, has seemingly been plagued by controversy from the get-go. Some of this controversy is extremely stupid: A real contingent of \u003ca href=\"https://www.buzzfeed.com/danielkibblesmith/who-you-gonna-call-misandry-busters?utm_term=.jgkJoEpdDD#.lgp5M6aeLL\" target=\"_blank\">men are super mad that the main characters are no longer men\u003c/a>.\u003c/p>\n\u003cp>Some of it is less stupid: After the first trailer was released, it was difficult to ignore the fact that, out of the four Ghostbuster characters, the three white ones are apparently scientists -- whereas \u003ca href=\"http://www.papermag.com/leslie-jones-responds-to-criticism-of-her-racist-ghostbusters-role-1648137736.html\" target=\"_blank\">the character played by Leslie Jones\u003c/a>, the only black Ghostbuster, is a \"sassy\" working-class woman with a job at the MTA.\u003c/p>\n\u003cp>With three weeks left before the movie hits theaters, however, \u003cem>Ghostbusters\u003c/em> has since outdone itself. \"Ghostbusters (I'm Not Afraid)\" is now officially The Worst Thing About \u003cem>Ghostbusters\u003c/em>. It might even be the worst thing about official motion picture soundtracks, which is \u003ca href=\"https://www.amazon.com/Walk-Remember-Various-Artists/dp/B00005UT2K\" target=\"_blank\">really saying something, considering\u003c/a>. Gone are the simple, cheesy, Huey Lewis-shaped synth notes of our youth, and in their place is something that sounds a bit like robots trying to recreate '80s music in a stark underground torture chamber. Even if the schlocky, over-the-top guitar and distorted vocals are supposed to be a nod to the decade from whence the original tune came, calling this cheap-sounding remake an homage to Ray Parker Jr.'s Academy Award-nominated original is like calling \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">Snapchat's 4/20 blackface\u003c/a> \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">filter \u003c/a>a touching and well-executed tribute to Bob Marley.\u003c/p>\n\u003cp>Of course, I expected as much from Fall Out Boy. We all expected as much from Fall Out Boy! The best thing Fall Out Boy has ever done is an 11-year-old chewed-up Laffy Taffy gob of a song that should only ever be consumed alongside \u003ca href=\"https://www.youtube.com/watch?v=kvx0ncTxxL0\" target=\"_blank\">this YouTube video\u003c/a>.\u003c/p>\n\u003cp>But Missy? \u003cem>Missy\u003c/em>. Missy Elliott, if you're a member of the unlucky quadrant of society who only learned about Missy Elliott when she handily upstaged Katy Perry during the latter's Super Bowl Halftime Show, is more than a legend. She's a queen, and she can do whatever she wants. She's been \u003ca href=\"http://www.cbsnews.com/news/graves-disease-diagnosis-for-missy-elliot-came-after-rapper-almost-wrecked-car/\" target=\"_blank\">sick in recent years\u003c/a>, so she was out of the spotlight for a bit, but she also gave a presentation with Michelle Obama and Queen Latifah at this year's SXSW, in a \u003ca href=\"http://www.vulture.com/2016/03/michelle-obama-queen-latifah-missy-elliott-shine-at-sxsw.html\" target=\"_blank\">great example of shine theory at work\u003c/a>. She's still among the most innovative and talented rappers alive, and -- you know what? I'm getting too emotional. MISSY BREAK.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hHcyJPTTn9w\u003c/p>\n\u003cp>Here's the thing: The studio executives tasked with selling a movie whose driving premise is bankable nostalgia know \u003cem>exactly\u003c/em> how I feel about Missy Elliott. They did their research. Combining Missy Elliott and Fall Out Boy with \u003cem>Ghostbusters \u003c/em>as a branding strategy is essentially jolting a BuzzFeed listicle of Things Only Kids Born In the '80s Will Understand with a taser until it springs to cinematic life, a lumbering, self-aware marketing Frankenstein that feeds on the dollars of #Millennials and reeks of summertime sadness. So it makes sense that calling this track \"forced\" is perhaps the understatement of the year. None of the parties involved sound even \u003cem>remotely\u003c/em> like they want to be here -- and who can blame them?\u003c/p>\n\u003cp>All of which is to say, Missy: You're better than this. Making a terrible song with Fall Out Boy for a soundtrack for the remake of a blockbuster is a demonstration of the \u003cem>opposite\u003c/em> of shine theory. You now have the scent of Fall Out Boy all over you, and I'll get past that, but it's going to be a slow and difficult process. Which hurts, because Missy: You didn't have to do this. You don't have to do this. Please don't do it again.\u003c/p>\n\u003cp>But since you did, I hope you did it for a\u003cem> really\u003c/em> nice paycheck.\u003c/p>\n\u003cp>\u003cem>[Ed. note: I could not actually make it all the way through \"Ghostbusters (I'm Not Afraid),\" and chose instead just to watch more old-school Missy Elliott videos (see below). If the last 45 seconds of said theme song somehow redeem the entire thing, someone please let me know.]\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=opkRF3UZSJw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYKI8tAELXY\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FPoKiGQzbSQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In my heart of hearts, I knew this was coming.\u003c/p>\n\u003cp>It was a few weeks ago now that I became vaguely aware, in that glazed-over internet osmosis way, of a new \u003cem>Ghostbusters\u003c/em> theme that had a 100 percent chance of upsetting me. Some stray \"trending\" story on Facebook, I believe, included the words \"Fall Out Boy and Missy Elliott to record \u003cem>Ghostbusters\u003c/em> theme song.\"\u003c/p>\n\u003cp>Like most trending Facebook stories -- let's see, mine currently include \"Cheetos: Frito-Lay Holds Contest To Find Uniquely-Shaped Snack Foods\" and \"Shaquille O'Neal: Ex-NBA Player Shares Image With His Face Edited Onto Dwayne Wade's Nude Body\" -- my eyes glossed over it, unable or unwilling to fully digest the information it contained.\u003c/p>\n\u003cp>But even if I had fully internalized those words, there's just no way they could have prepared me for this.\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/2AQ44nPrRTM'\n title='//www.youtube.com/embed/2AQ44nPrRTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay, so some context: The \u003cem>Ghostbusters\u003c/em> remake, out July 15 and starring four very funny women in the place of the original's four funny men, has seemingly been plagued by controversy from the get-go. Some of this controversy is extremely stupid: A real contingent of \u003ca href=\"https://www.buzzfeed.com/danielkibblesmith/who-you-gonna-call-misandry-busters?utm_term=.jgkJoEpdDD#.lgp5M6aeLL\" target=\"_blank\">men are super mad that the main characters are no longer men\u003c/a>.\u003c/p>\n\u003cp>Some of it is less stupid: After the first trailer was released, it was difficult to ignore the fact that, out of the four Ghostbuster characters, the three white ones are apparently scientists -- whereas \u003ca href=\"http://www.papermag.com/leslie-jones-responds-to-criticism-of-her-racist-ghostbusters-role-1648137736.html\" target=\"_blank\">the character played by Leslie Jones\u003c/a>, the only black Ghostbuster, is a \"sassy\" working-class woman with a job at the MTA.\u003c/p>\n\u003cp>With three weeks left before the movie hits theaters, however, \u003cem>Ghostbusters\u003c/em> has since outdone itself. \"Ghostbusters (I'm Not Afraid)\" is now officially The Worst Thing About \u003cem>Ghostbusters\u003c/em>. It might even be the worst thing about official motion picture soundtracks, which is \u003ca href=\"https://www.amazon.com/Walk-Remember-Various-Artists/dp/B00005UT2K\" target=\"_blank\">really saying something, considering\u003c/a>. Gone are the simple, cheesy, Huey Lewis-shaped synth notes of our youth, and in their place is something that sounds a bit like robots trying to recreate '80s music in a stark underground torture chamber. Even if the schlocky, over-the-top guitar and distorted vocals are supposed to be a nod to the decade from whence the original tune came, calling this cheap-sounding remake an homage to Ray Parker Jr.'s Academy Award-nominated original is like calling \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">Snapchat's 4/20 blackface\u003c/a> \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">filter \u003c/a>a touching and well-executed tribute to Bob Marley.\u003c/p>\n\u003cp>Of course, I expected as much from Fall Out Boy. We all expected as much from Fall Out Boy! The best thing Fall Out Boy has ever done is an 11-year-old chewed-up Laffy Taffy gob of a song that should only ever be consumed alongside \u003ca href=\"https://www.youtube.com/watch?v=kvx0ncTxxL0\" target=\"_blank\">this YouTube video\u003c/a>.\u003c/p>\n\u003cp>But Missy? \u003cem>Missy\u003c/em>. Missy Elliott, if you're a member of the unlucky quadrant of society who only learned about Missy Elliott when she handily upstaged Katy Perry during the latter's Super Bowl Halftime Show, is more than a legend. She's a queen, and she can do whatever she wants. She's been \u003ca href=\"http://www.cbsnews.com/news/graves-disease-diagnosis-for-missy-elliot-came-after-rapper-almost-wrecked-car/\" target=\"_blank\">sick in recent years\u003c/a>, so she was out of the spotlight for a bit, but she also gave a presentation with Michelle Obama and Queen Latifah at this year's SXSW, in a \u003ca href=\"http://www.vulture.com/2016/03/michelle-obama-queen-latifah-missy-elliott-shine-at-sxsw.html\" target=\"_blank\">great example of shine theory at work\u003c/a>. She's still among the most innovative and talented rappers alive, and -- you know what? I'm getting too emotional. MISSY BREAK.\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/hHcyJPTTn9w'\n title='//www.youtube.com/embed/hHcyJPTTn9w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's the thing: The studio executives tasked with selling a movie whose driving premise is bankable nostalgia know \u003cem>exactly\u003c/em> how I feel about Missy Elliott. They did their research. Combining Missy Elliott and Fall Out Boy with \u003cem>Ghostbusters \u003c/em>as a branding strategy is essentially jolting a BuzzFeed listicle of Things Only Kids Born In the '80s Will Understand with a taser until it springs to cinematic life, a lumbering, self-aware marketing Frankenstein that feeds on the dollars of #Millennials and reeks of summertime sadness. So it makes sense that calling this track \"forced\" is perhaps the understatement of the year. None of the parties involved sound even \u003cem>remotely\u003c/em> like they want to be here -- and who can blame them?\u003c/p>\n\u003cp>All of which is to say, Missy: You're better than this. Making a terrible song with Fall Out Boy for a soundtrack for the remake of a blockbuster is a demonstration of the \u003cem>opposite\u003c/em> of shine theory. You now have the scent of Fall Out Boy all over you, and I'll get past that, but it's going to be a slow and difficult process. Which hurts, because Missy: You didn't have to do this. You don't have to do this. Please don't do it again.\u003c/p>\n\u003cp>But since you did, I hope you did it for a\u003cem> really\u003c/em> nice paycheck.\u003c/p>\n\u003cp>\u003cem>[Ed. note: I could not actually make it all the way through \"Ghostbusters (I'm Not Afraid),\" and chose instead just to watch more old-school Missy Elliott videos (see below). If the last 45 seconds of said theme song somehow redeem the entire thing, someone please let me know.]\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/opkRF3UZSJw'\n title='//www.youtube.com/embed/opkRF3UZSJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=kYKI8tAELXY\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/FPoKiGQzbSQ'\n title='//www.youtube.com/embed/FPoKiGQzbSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "AP Source: DNA Test Shows Colorado Inmate Not Prince's Son",
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"content": "\u003cp>DNA test results show a Colorado prison inmate is not Prince’s son, a person who has seen a sealed document said Wednesday.\u003c/p>\n\u003cp>The finding means that Carlin Q. Williams is not entitled to inherit a fortune worth up to $300 million.\u003c/p>\n\u003cp>The person who spoke to the Associated Press was not authorized to release the finding and therefore requested anonymity.\u003c/p>\n\u003cp>\u003cem>TMZ\u003c/em>, citing unnamed sources with direct knowledge of the case, first reported the DNA results.\u003c/p>\n\u003cp>Attorneys for Bremer Trust, the special administrator for the estate, filed the results Wednesday in Carver County District Court.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince died of an accidental drug overdose on April 21 and no will has emerged for him. He had no known surviving children although a few other people besides Williams have filed documents claiming Prince was or might have been their father.\u003c/p>\n\u003cp>Williams claimed that his mother had unprotected sex with Prince at a Kansas City, Missouri, hotel in 1976. Williams, a 39-year-old Kansas City man whose long criminal record includes drug and domestic violence charges, is serving nearly eight years in federal prison for unlawfully transporting a firearm in a stolen vehicle.\u003c/p>\n\u003cp>An attorney for Williams did not immediately return messages seeking comment.\u003c/p>\n\u003cp>Messages left with the Bureau of Prisons to request an interview with Williams were not immediately returned Wednesday. He has previously denied a request to be interviewed by The Associated Press.\u003c/p>\n\u003cp>Williams’ mother, Marsha Henson, said she didn’t believe that the DNA results show their claim is false. Sitting in a lawn chair in her Kansas City backyard, she told the AP she was unaware of the results.\u003c/p>\n\u003cp>“I don’t believe that. I think they’re positive,” she said before ending the conversation and referring additional questions to their attorney. She declined repeated requests to elaborate.\u003c/p>\n\u003cp>Under Minnesota law, Prince’s sister, Tyka Nelson, several half-siblings, and a possible niece and grandniece currently stand to inherit shares of the estate.\u003c/p>\n\u003cp>“There is really nothing to say,” said President Nelson, Tyka Nelson’s son. “There isn’t much to say because it was never a thing.”\u003c/p>\n\u003cp>The judge overseeing the estate case, Carver County Judge Kevin Eide, has not set a deadline for filing paternity and kinship claims.\u003c/p>\n\u003cp>Eide issued an order Wednesday sealing Williams’ test results “due to the confidential nature of the determination of heirship issues” under Minnesota law.\u003c/p>\n\u003cp>Williams had long asserted that he was Prince’s son, though it’s not clear whether Prince was aware of that. Before he went to prison, Williams was trying to launch a career as a hip-hop artist under the moniker Prince Dracula. His page on Reverbnation, a site that supports emerging artists, describes him as Prince’s son, and a vocalist and lyricist. Like Prince’s music, the sound is heavy on synthesizers.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>DNA test results show a Colorado prison inmate is not Prince’s son, a person who has seen a sealed document said Wednesday.\u003c/p>\n\u003cp>The finding means that Carlin Q. Williams is not entitled to inherit a fortune worth up to $300 million.\u003c/p>\n\u003cp>The person who spoke to the Associated Press was not authorized to release the finding and therefore requested anonymity.\u003c/p>\n\u003cp>\u003cem>TMZ\u003c/em>, citing unnamed sources with direct knowledge of the case, first reported the DNA results.\u003c/p>\n\u003cp>Attorneys for Bremer Trust, the special administrator for the estate, filed the results Wednesday in Carver County District Court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince died of an accidental drug overdose on April 21 and no will has emerged for him. He had no known surviving children although a few other people besides Williams have filed documents claiming Prince was or might have been their father.\u003c/p>\n\u003cp>Williams claimed that his mother had unprotected sex with Prince at a Kansas City, Missouri, hotel in 1976. Williams, a 39-year-old Kansas City man whose long criminal record includes drug and domestic violence charges, is serving nearly eight years in federal prison for unlawfully transporting a firearm in a stolen vehicle.\u003c/p>\n\u003cp>An attorney for Williams did not immediately return messages seeking comment.\u003c/p>\n\u003cp>Messages left with the Bureau of Prisons to request an interview with Williams were not immediately returned Wednesday. He has previously denied a request to be interviewed by The Associated Press.\u003c/p>\n\u003cp>Williams’ mother, Marsha Henson, said she didn’t believe that the DNA results show their claim is false. Sitting in a lawn chair in her Kansas City backyard, she told the AP she was unaware of the results.\u003c/p>\n\u003cp>“I don’t believe that. I think they’re positive,” she said before ending the conversation and referring additional questions to their attorney. She declined repeated requests to elaborate.\u003c/p>\n\u003cp>Under Minnesota law, Prince’s sister, Tyka Nelson, several half-siblings, and a possible niece and grandniece currently stand to inherit shares of the estate.\u003c/p>\n\u003cp>“There is really nothing to say,” said President Nelson, Tyka Nelson’s son. “There isn’t much to say because it was never a thing.”\u003c/p>\n\u003cp>The judge overseeing the estate case, Carver County Judge Kevin Eide, has not set a deadline for filing paternity and kinship claims.\u003c/p>\n\u003cp>Eide issued an order Wednesday sealing Williams’ test results “due to the confidential nature of the determination of heirship issues” under Minnesota law.\u003c/p>\n\u003cp>Williams had long asserted that he was Prince’s son, though it’s not clear whether Prince was aware of that. Before he went to prison, Williams was trying to launch a career as a hip-hop artist under the moniker Prince Dracula. His page on Reverbnation, a site that supports emerging artists, describes him as Prince’s son, and a vocalist and lyricist. Like Prince’s music, the sound is heavy on synthesizers.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Comforting Cacophony at 'Garden of Memory' in Oakland",
"headTitle": "A Comforting Cacophony at ‘Garden of Memory’ in Oakland | KQED",
"content": "\u003cp>The conventions of live musical performance haven’t changed much over the last several centuries, what with an audience inevitably oriented toward a stage and a series of sets punctuated by applause. Despite a few rebellions, the very architecture of every new venue constructed continues to enforce a rigid code of conduct, one that emphasizes, above all else, patience.\u003c/p>\n\u003cp>Which helps explain the exceptional thrill of Garden of Memory, the carnival of sound and vision held annually in Oakland’s stately Chapel of the Chimes columbarium on the summer solstice, the longest day of the year. On Tuesday night, dozens of performances occur throughout the labyrinthine structure at once. No set demands any more investment than listeners wish to give. Attendees interested in experimental music but leery of the rigor it’s thought to require need not worry: Garden of Memory encourages patrons to wander, to welcome distraction, and ideally get lost.\u003c/p>\n\u003cp>At this year’s event, Rova Saxophone Quartet beckons with the brassy swagger of a jazz orchestra, but Entartete Ensemble’s gossamer understatement inspires a detour. Pamela Z, awash in natural light, seamlessly loops and stitches together a vibrant choral work. John Benson reprises the setup that’s haunted this writer since last year: an upturned bass drum lit from below and covered in a shallow pool of milk, which quivers and gushes to a deep drone. Hallways teem with chatter. Errant melodies escape their designated alcoves. Children sprint past elders who gingerly navigate the stone steps; the disparate generations appear to have struck a truce.\u003c/p>\n\u003cfigure id=\"attachment_11722123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg\" alt=\"Rova Saxophone Quartet at 'Garden of Memory' in Oakland, June 21, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rova Saxophone Quartet at ‘Garden of Memory’ in Oakland, June 21, 2016. \u003ccite>(Photo: Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At all times, Garden of Memory is comfortingly cacophonous, reminiscent of the inimitable polyphony that emerges on rare occasions in the hallway of a bustling rehearsal complex. The event concludes with a participatory bell-ringing ceremony that sounds so much like chimes and rain that it threatens, in fittingly pagan fashion, to invoke thunder. \u003c/p>\n\u003cp>To produce the first Garden of Memory in 1996, celebrated Berkeley pianist and composer Sarah Cahill partnered with the small non-profit New Music Bay Area, then known as 20th Century Forum. At first, it was free and familial, featuring Cahill and her peers. Though attendance has swelled to thousands in recent years, ticket prices remain humble and the organization, simple: expenses hover around $1,000, and proceeds are divided evenly among performers. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like the San Francisco Electronic Music Festival, the programming at Garden of Memory reflects the porosity between academic and underground experimental music circles in the Bay Area, where scrappy tabletop noise artists and renowned performers intersect and commingle at museums and warehouses alike. This is largely on account of Mills College, which seems to cyclically inject life and restless energy into Oakland clubs and performing arts spaces.\u003c/p>\n\u003cfigure id=\"attachment_11722122\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg\" alt=\"At Garden of Memory in Oakland, June 21, 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11722122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_.jpg 733w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">At Garden of Memory in Oakland, June 21, 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To wit, Garden of Memory features co-director of Mills’ Center for Contemporary Music Maggi Payne, who presides over a sort of theremin workshop in one nook; and faculty member William Winant, the versatile and acclaimed percussionist, who both leads his own group and performs a piece by the maverick 20th century composer Lou Harrison with Cahill and violinist Kate Stenberg. Cahill then plays an early, little-known composition by Harrison, all smoky chord clusters set to a cool, stuttering groove. (The sheet music was recently discovered in Mills’ library.) \u003c/p>\n\u003cp>First-time performers include Mills alum Sharmi Basu, who makes seething, charred electronic music as Beast Nest. Here, however, her set is relatively restrained, composed of aqueous, gleaming textures with a nevertheless dark luster. And behind her is dancer Alexander Zander Brown, who strikes angular poses and undulates beneath a gold shawl. Programming is proposal-based, but many of the same performers participate every year; as Basu and Brown show, more inaugural appearances would be welcomed.\u003c/p>\n\u003cp>For many artists, the atmosphere seems to encourage whimsical ideas. In the best case, this looks something like Randy Porter’s corner: a thicket of plastic tubes, mounted horns, and a rickety organ that appears to fold up into a box and sounds great when he strikes it with a hammer.\u003c/p>\n\u003cp>It’s important not to overstate the evening’s levity. To be sure, were the programming to take direct inspiration from Chapel of the Chimes’ practical purposes — incinerating corpses, stowing remains — it would quickly devolve into parody. But it’s still a solemn, aching piece called “No Stolen Sisters” — written and performed by saxophonist Phillip Greenlief to honor and acknowledge the indigenous women “disappeared” at alarming rates in recent years — that proves particularly resonant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using circular breathing, Greenlief performs for four hours. This is at palpable physical expense; his face discolors and spittle settles around his mouthpiece. Over time, his exertion inflects and skews the instrument’s timbre, conjuring a sort of spectral lament. And in that moment, having idly strolled and passively listened all evening, suddenly patience is less of a chore and more of a pathway. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The conventions of live musical performance haven’t changed much over the last several centuries, what with an audience inevitably oriented toward a stage and a series of sets punctuated by applause. Despite a few rebellions, the very architecture of every new venue constructed continues to enforce a rigid code of conduct, one that emphasizes, above all else, patience.\u003c/p>\n\u003cp>Which helps explain the exceptional thrill of Garden of Memory, the carnival of sound and vision held annually in Oakland’s stately Chapel of the Chimes columbarium on the summer solstice, the longest day of the year. On Tuesday night, dozens of performances occur throughout the labyrinthine structure at once. No set demands any more investment than listeners wish to give. Attendees interested in experimental music but leery of the rigor it’s thought to require need not worry: Garden of Memory encourages patrons to wander, to welcome distraction, and ideally get lost.\u003c/p>\n\u003cp>At this year’s event, Rova Saxophone Quartet beckons with the brassy swagger of a jazz orchestra, but Entartete Ensemble’s gossamer understatement inspires a detour. Pamela Z, awash in natural light, seamlessly loops and stitches together a vibrant choral work. John Benson reprises the setup that’s haunted this writer since last year: an upturned bass drum lit from below and covered in a shallow pool of milk, which quivers and gushes to a deep drone. Hallways teem with chatter. Errant melodies escape their designated alcoves. Children sprint past elders who gingerly navigate the stone steps; the disparate generations appear to have struck a truce.\u003c/p>\n\u003cfigure id=\"attachment_11722123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg\" alt=\"Rova Saxophone Quartet at 'Garden of Memory' in Oakland, June 21, 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Rova_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rova Saxophone Quartet at ‘Garden of Memory’ in Oakland, June 21, 2016. \u003ccite>(Photo: Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At all times, Garden of Memory is comfortingly cacophonous, reminiscent of the inimitable polyphony that emerges on rare occasions in the hallway of a bustling rehearsal complex. The event concludes with a participatory bell-ringing ceremony that sounds so much like chimes and rain that it threatens, in fittingly pagan fashion, to invoke thunder. \u003c/p>\n\u003cp>To produce the first Garden of Memory in 1996, celebrated Berkeley pianist and composer Sarah Cahill partnered with the small non-profit New Music Bay Area, then known as 20th Century Forum. At first, it was free and familial, featuring Cahill and her peers. Though attendance has swelled to thousands in recent years, ticket prices remain humble and the organization, simple: expenses hover around $1,000, and proceeds are divided evenly among performers. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like the San Francisco Electronic Music Festival, the programming at Garden of Memory reflects the porosity between academic and underground experimental music circles in the Bay Area, where scrappy tabletop noise artists and renowned performers intersect and commingle at museums and warehouses alike. This is largely on account of Mills College, which seems to cyclically inject life and restless energy into Oakland clubs and performing arts spaces.\u003c/p>\n\u003cfigure id=\"attachment_11722122\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg\" alt=\"At Garden of Memory in Oakland, June 21, 2016.\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11722122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.Light_.jpg 733w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">At Garden of Memory in Oakland, June 21, 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To wit, Garden of Memory features co-director of Mills’ Center for Contemporary Music Maggi Payne, who presides over a sort of theremin workshop in one nook; and faculty member William Winant, the versatile and acclaimed percussionist, who both leads his own group and performs a piece by the maverick 20th century composer Lou Harrison with Cahill and violinist Kate Stenberg. Cahill then plays an early, little-known composition by Harrison, all smoky chord clusters set to a cool, stuttering groove. (The sheet music was recently discovered in Mills’ library.) \u003c/p>\n\u003cp>First-time performers include Mills alum Sharmi Basu, who makes seething, charred electronic music as Beast Nest. Here, however, her set is relatively restrained, composed of aqueous, gleaming textures with a nevertheless dark luster. And behind her is dancer Alexander Zander Brown, who strikes angular poses and undulates beneath a gold shawl. Programming is proposal-based, but many of the same performers participate every year; as Basu and Brown show, more inaugural appearances would be welcomed.\u003c/p>\n\u003cp>For many artists, the atmosphere seems to encourage whimsical ideas. In the best case, this looks something like Randy Porter’s corner: a thicket of plastic tubes, mounted horns, and a rickety organ that appears to fold up into a box and sounds great when he strikes it with a hammer.\u003c/p>\n\u003cp>It’s important not to overstate the evening’s levity. To be sure, were the programming to take direct inspiration from Chapel of the Chimes’ practical purposes — incinerating corpses, stowing remains — it would quickly devolve into parody. But it’s still a solemn, aching piece called “No Stolen Sisters” — written and performed by saxophonist Phillip Greenlief to honor and acknowledge the indigenous women “disappeared” at alarming rates in recent years — that proves particularly resonant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using circular breathing, Greenlief performs for four hours. This is at palpable physical expense; his face discolors and spittle settles around his mouthpiece. Over time, his exertion inflects and skews the instrument’s timbre, conjuring a sort of spectral lament. And in that moment, having idly strolled and passively listened all evening, suddenly patience is less of a chore and more of a pathway. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Celebrate Pride With 300 Backstreet Boys, AKA the SF Gay Men's Chorus",
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"content": "\u003cp>How many times have you been minding your own business, listening to pop radio, reminiscing about the year 1998, when a truly gluttonous fantasy popped into your brain: *NSYNC was a pretty good boy band and all, but how much better would they have been if there had been 300 of them?!\u003c/p>\n\u003cp>Alright, so maybe this event isn't meeting a specific need -- it's more like the kind of thing you never really knew you wanted until your weird aunt sends it to you as a birthday gift; say, one of those weird \u003ca href=\"http://www.skymall.com/black-forest-ent-tree-statue/CL-5866.html?gclid=CIPn_IHpvM0CFRSPfgodNSgHSA#fo_c=1266&fo_k=5e3dca2ae17b26c19a5eaa66f7936f70&fo_s=gplaus\" target=\"_blank\">tree-face\u003c/a> garden accent things from SkyMall.\u003c/p>\n\u003cp>In any event: It's Pride weekend, and it goes without saying that the \u003ca href=\"https://www.sfgmc.org/\" target=\"_blank\">San Francisco Gay Men's Chorus\u003c/a> is so much better than any lawn ornament could ever hope to be. \u003cem>Especially\u003c/em> when they put together a performance that consists solely of boy band songs, all sung harmoniously, 300 men at a time.\u003c/p>\n\u003cfigure id=\"attachment_27555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-27555\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/913-800x600.jpg\" alt=\"Just like this, only with 255 more guys. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just like this, only with 295 more guys.\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\">Heartthrobs: Biggest Boy Band Ever\u003c/a>\" will see the renowned chorus singing hits from \"The Beach Boys to The Beatles, from the Bee Gees to Boyz II Men,\" accompanied by Well-Strung, \"the Singing String Quartet.\" There are three performances at the Nourse Theater this weekend: Friday, June 24 at 8pm and Saturday, June 25 at 2:30 and 8pm. Tickets range from $20 to $60.\u003c/p>\n\u003cp>This is sillier fare than we often get from the SFGMC, which in recent weeks gave us this \u003ca href=\"https://www.youtube.com/watch?v=z83Sx-KECpc\" target=\"_blank\">chill-inducing tribute\u003c/a> to the victims of the Orlando shooting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As I've written previously, however, there is \u003ca href=\"https://ww2.kqed.org/pop/2016/06/17/this-week-has-been-terrible-you-should-probably-go-see-a-cat-circus/\" target=\"_blank\">a time and place for silliness\u003c/a>. There is also a time and place for spiky, bleached hair. And sometimes, some of us, regardless of the year -- we want it that way.\u003c/p>\n\u003cp>Can you blame us?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4fndeDfaWCg\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How many times have you been minding your own business, listening to pop radio, reminiscing about the year 1998, when a truly gluttonous fantasy popped into your brain: *NSYNC was a pretty good boy band and all, but how much better would they have been if there had been 300 of them?!\u003c/p>\n\u003cp>Alright, so maybe this event isn't meeting a specific need -- it's more like the kind of thing you never really knew you wanted until your weird aunt sends it to you as a birthday gift; say, one of those weird \u003ca href=\"http://www.skymall.com/black-forest-ent-tree-statue/CL-5866.html?gclid=CIPn_IHpvM0CFRSPfgodNSgHSA#fo_c=1266&fo_k=5e3dca2ae17b26c19a5eaa66f7936f70&fo_s=gplaus\" target=\"_blank\">tree-face\u003c/a> garden accent things from SkyMall.\u003c/p>\n\u003cp>In any event: It's Pride weekend, and it goes without saying that the \u003ca href=\"https://www.sfgmc.org/\" target=\"_blank\">San Francisco Gay Men's Chorus\u003c/a> is so much better than any lawn ornament could ever hope to be. \u003cem>Especially\u003c/em> when they put together a performance that consists solely of boy band songs, all sung harmoniously, 300 men at a time.\u003c/p>\n\u003cfigure id=\"attachment_27555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-27555\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/913-800x600.jpg\" alt=\"Just like this, only with 255 more guys. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/913.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just like this, only with 295 more guys.\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"http://www.sfgmc.org/events/heartthrobs-biggest-boy-band-ever/\" target=\"_blank\">Heartthrobs: Biggest Boy Band Ever\u003c/a>\" will see the renowned chorus singing hits from \"The Beach Boys to The Beatles, from the Bee Gees to Boyz II Men,\" accompanied by Well-Strung, \"the Singing String Quartet.\" There are three performances at the Nourse Theater this weekend: Friday, June 24 at 8pm and Saturday, June 25 at 2:30 and 8pm. Tickets range from $20 to $60.\u003c/p>\n\u003cp>This is sillier fare than we often get from the SFGMC, which in recent weeks gave us this \u003ca href=\"https://www.youtube.com/watch?v=z83Sx-KECpc\" target=\"_blank\">chill-inducing tribute\u003c/a> to the victims of the Orlando shooting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As I've written previously, however, there is \u003ca href=\"https://ww2.kqed.org/pop/2016/06/17/this-week-has-been-terrible-you-should-probably-go-see-a-cat-circus/\" target=\"_blank\">a time and place for silliness\u003c/a>. There is also a time and place for spiky, bleached hair. And sometimes, some of us, regardless of the year -- we want it that way.\u003c/p>\n\u003cp>Can you blame us?\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/4fndeDfaWCg'\n title='//www.youtube.com/embed/4fndeDfaWCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Led Zeppelin singer Robert Plant testified Tuesday that his memory of encounters more than 40 years ago is dim, though his recollection of the creation of the band’s epic “Stairway to Heaven” was quite clear.\u003c/p>\n\u003cp>The testimony came before Led Zeppelin’s defense rested its case and the judge scheduled closing arguments for Wednesday.\u003c/p>\n\u003cp>Plant told a packed courtroom that he did not remember hanging out with members of the band Spirit after a Birmingham, England, show in 1970, though he said he and his wife were in a bad car wreck and he has no memory of the evening.\u003c/p>\n\u003cp>“I don’t have a recollection of almost anyone I’ve hung out with,” Plant said as the courtroom roared with laughter.\u003c/p>\n\u003cp>Plant took the stand in a federal courtroom in Los Angeles during the copyright trial in which he and fellow songwriter Jimmy Page are accused to stealing a riff from Spirit’s song, “Taurus” for “Stairway to Heaven.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The estate of the late songwriter Randy Wolfe, also known as Randy California, is suing Page, Plant and their record label for copyright infringement.\u003c/p>\n\u003cp>Spirit’s former bass player previously testified to drinking beers with Plant and playing the billiards-like game snooker after a show at Mother’s Club in 1970.\u003c/p>\n\u003cp>Plant had a much sharper memory of creating “Stairway” at Headley Grange in England, where he said his goal was to evoke an image of pastoral Britain.\u003c/p>\n\u003cp>Plant was sitting by a fire in the building when Page played the introduction to the song. Plant said he had a couplet that might work that began: “There’s a lady who’s sure all that glitters is gold and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>From there it started “rolling pretty fast,” he said.\u003c/p>\n\u003cp>The other band members would make contributions and Plant would occasionally retreat to a bedroom with a notepad to work on more lyrics for what became an eight-minute song.\u003c/p>\n\u003cp>Lawyers for Page and Plant have asked the judge to throw out the case before it goes to the jury. Judge R. Gary Klausner did not entertain that motion Tuesday morning.\u003c/p>\n\u003cp>Musical experts for the Wolfe estate have said there were many similarities between “Taurus” and “Stairway,” but a defense expert testified Friday that the main similarity was a common descending chord sequence used as a musical building block for 300 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The estate of the late songwriter Randy Wolfe, also known as Randy California, is suing Page, Plant and their record label for copyright infringement.\u003c/p>\n\u003cp>Spirit’s former bass player previously testified to drinking beers with Plant and playing the billiards-like game snooker after a show at Mother’s Club in 1970.\u003c/p>\n\u003cp>Plant had a much sharper memory of creating “Stairway” at Headley Grange in England, where he said his goal was to evoke an image of pastoral Britain.\u003c/p>\n\u003cp>Plant was sitting by a fire in the building when Page played the introduction to the song. Plant said he had a couplet that might work that began: “There’s a lady who’s sure all that glitters is gold and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>From there it started “rolling pretty fast,” he said.\u003c/p>\n\u003cp>The other band members would make contributions and Plant would occasionally retreat to a bedroom with a notepad to work on more lyrics for what became an eight-minute song.\u003c/p>\n\u003cp>Lawyers for Page and Plant have asked the judge to throw out the case before it goes to the jury. Judge R. Gary Klausner did not entertain that motion Tuesday morning.\u003c/p>\n\u003cp>Musical experts for the Wolfe estate have said there were many similarities between “Taurus” and “Stairway,” but a defense expert testified Friday that the main similarity was a common descending chord sequence used as a musical building block for 300 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticketmaster's Offer of Free Concerts is Looking Like a Disaster",
"headTitle": "Ticketmaster’s Offer of Free Concerts is Looking Like a Disaster | KQED",
"content": "\u003cp>Ticketmaster recently \u003ca href=\"http://www.huffingtonpost.com/entry/ticketmasters-class-action-lawsuit-settlement-means-free-concert-tix-for-you_us_57681cc7e4b015db1bca0724\" target=\"_blank\" rel=\"noopener\">settled a class-action lawsuit\u003c/a> regarding its “excessive and deceptive” convenience fees, requiring the ticketing behemoth to provide customers who purchased tickets between 1999 and 2013 with discount codes and vouchers for free tickets to concerts.\u003c/p>\n\u003cp>Great news, right? Who doesn’t love free tickets?\u003c/p>\n\u003cp>But \u003ca href=\"https://twitter.com/AGSpinelli/status/744987128090681344\" target=\"_blank\" rel=\"noopener\">speculation about the level of quality\u003c/a> for those select concerts naturally flooded Twitter, since anyone who has a history with Ticketmaster knows that the company’s not exactly revered for giving consumers what they want. (\u003ca href=\"https://theringer.com/ticket-industry-problem-solution-e4b3b71fdff6#.xtwqd930o\" target=\"_blank\" rel=\"noopener\">Here\u003c/a>, in fact, is an in-depth run-down by the former CEO of Ticketmaster explaining how the system is \u003ca href=\"https://theringer.com/ticket-industry-problem-solution-e4b3b71fdff6#.xtwqd930o\" target=\"_blank\" rel=\"noopener\">completely rigged against the average person\u003c/a> trying to buy tickets.)\u003c/p>\n\u003cfigure id=\"attachment_11718498\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SublimeWithRome-800x534.jpg\" alt=\"Sublime With Rome.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11718498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime With Rome.\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, Ticketmaster released the \u003ca href=\"http://concerts.livenation.com/microsite/settlement\" target=\"_blank\" rel=\"noopener\">list of concerts eligible for the free-voucher redemption\u003c/a>, and you could hear a collective groan across the internet. Alyssa Pereira over at SFGate tirelessly compiled the \u003ca href=\"http://www.sfgate.com/music/article/Ticketmaster-s-list-of-eligible-shows-for-8315390.php#photo-10416389\" target=\"_blank\" rel=\"noopener\">shows in the Bay Area eligible for the free vouchers\u003c/a>, including Bryan Adams, Darius Rucker, Counting Crows, Hall & Oates, Pitbull, Sublime With Rome and many, many others.\u003c/p>\n\u003cp>Counting Crows may be your thing, and that’s cool, no judgment here. But here’s a fact: Barring the miraculous resurrection of John Coltrane who announces a one-night only guest appearance with Adam Duritz, Counting Crows is never, ever going to be able to sell out the 22,500-capacity Shoreline Amphitheater in the year 2016. What Ticketmaster is offering, mostly, is scraps, leftovers, unwanted surplus, #TaxWriteOff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/gilbertjasono/status/745294877542359040\u003c/p>\n\u003cp>In the Bay Area, you’ll notice another trend: The concerts on Ticketmaster’s voucher list are limited entirely to shows at the Shoreline Amphitheater and the Concord Pavilion, a.k.a. objectively the two worst places to see live music in the entire Bay Area. \u003c/p>\n\u003cp>Ticketmaster sells tickets for plenty of other, better venues in the Bay Area, from dozens of different promoters. And yet! Ticketmaster is also owned by Live Nation, the result of \u003ca href=\"https://techcrunch.com/2009/02/10/ticketmaster-and-live-nation-conduct-25-billion-merger-create-live-nation-entertainment/\" target=\"_blank\" rel=\"noopener\">a $2.5 billion merger\u003c/a> in 2009 that many believe \u003ca href=\"http://www.reuters.com/article/us-ticketmaster-livenation-idUSTRE5194DL20090210\" target=\"_blank\" rel=\"noopener\">should have been blocked by U.S. antitrust regulators\u003c/a>. Live Nation, as fate would have it, is the promoter and primary talent buyer for the Shoreline Amphitheater and the Concord Pavilion.\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg\" alt=\"The Shoreline Amphitheater.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater.\u003c/figcaption>\u003c/figure>\n\u003cp>You see where this is going: Ticketmaster’s parent company is using the terms of the class-action settlement as a convenient way to get some of its underperforming shows looking a little bit more successful. (What’s more, the tickets offered are lawn tickets only — far, far from the stage.) Live Nation isn’t even giving customers the option of shows at the Fillmore or the Masonic, both of which it also operates, and one of which was recently named \u003ca href=\"http://consequenceofsound.net/2016/05/go-inside-san-franciscos-the-fillmore-americas-greatest-music-venue-watch/\" target=\"_blank\" rel=\"noopener\">the country’s best venue\u003c/a> for live music.\u003c/p>\n\u003cp>Another problem? The voucher codes seem to be entirely fallible. “You \u003cstrong>may attempt\u003c/strong> to use the codes for redemption on this website,” \u003ca href=\"http://concerts.livenation.com/microsite/settlement\" target=\"_blank\" rel=\"noopener\">Ticketmaster’s site says\u003c/a> (bolding mine). “The ticket codes are available on a first come, first serve basis.” Not “tickets,” mind you; “ticket codes.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.nytimes.com/2016/06/22/business/media/ticketmaster-lawsuit-vouchers.html?_r=0\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Ticketmaster sent an estimated $386 million worth of discount codes to nearly 57 million people, according to Steven Blonder, a leading attorney on the lawsuit and a principal at the law firm Much Shelist.\u003c/p>\n\u003cp>Recall that the company is obligated to pay out only $42 million, and it becomes apparent that most of the vouchers will never be redeemed.\u003c/p>\u003c/blockquote>\n\u003cp>That might explain why so many people are reporting \u003ca href=\"https://www.reddit.com/r/Music/comments/4p1p52/ticketmaster_classaction_settlement_problems/\" target=\"_blank\" rel=\"noopener\">voucher codes disappearing\u003c/a> from their personal account! Also, Ticketmaster’s site is \u003ca href=\"https://twitter.com/AkilahObviously/status/744366466473013256\" target=\"_blank\" rel=\"noopener\">crashing\u003c/a> due to high traffic!\u003c/p>\n\u003cfigure id=\"attachment_11722822\" class=\"wp-caption aligncenter\" style=\"max-width: 564px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot.jpg\" alt=\""We expect these settlement ticket codes to be redeemed quickly," reads Ticketmaster's voucher description.\" width=\"564\" height=\"162\" class=\"size-full wp-image-11722822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot.jpg 564w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot-400x115.jpg 400w\" sizes=\"(max-width: 564px) 100vw, 564px\">\u003cfigcaption class=\"wp-caption-text\">“We expect these settlement ticket codes to be redeemed quickly,” reads Ticketmaster’s voucher description.\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, \u003ca href=\"https://www.youtube.com/watch?v=lixDK_tMEhE\" target=\"_blank\" rel=\"noopener\">Dolly Parton, sure\u003c/a>. I’ll probably try to cash in one of my 17 vouchers, and I’ll see you in the long horrible line of cars waiting two hours to get into the Shoreline Amphitheater parking lot while the distant strains of Dolly singing “9 to 5” waft over the scaffolding, just out of reach. And if you’re willing, there are also acts on the list like Snoop Dogg, Prophets of Rage and Gwen Stefani. (Again, the whole list is \u003ca href=\"http://www.sfgate.com/music/article/Ticketmaster-s-list-of-eligible-shows-for-8315390.php#photo-10416389\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But don’t believe for a second that Ticketmaster is doing anything here but unloading the live-music equivalent of junk bonds onto its customers. As goes the familiar refrain about the company’s “convenience” fees: Convenient for whom? Convenient for Ticketmaster.\u003c/p>\n\n",
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"excerpt": "There's a simple reason why you're disappointed in the list of free concerts offered as part of Ticketmaster's class-action settlement.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticketmaster recently \u003ca href=\"http://www.huffingtonpost.com/entry/ticketmasters-class-action-lawsuit-settlement-means-free-concert-tix-for-you_us_57681cc7e4b015db1bca0724\" target=\"_blank\" rel=\"noopener\">settled a class-action lawsuit\u003c/a> regarding its “excessive and deceptive” convenience fees, requiring the ticketing behemoth to provide customers who purchased tickets between 1999 and 2013 with discount codes and vouchers for free tickets to concerts.\u003c/p>\n\u003cp>Great news, right? Who doesn’t love free tickets?\u003c/p>\n\u003cp>But \u003ca href=\"https://twitter.com/AGSpinelli/status/744987128090681344\" target=\"_blank\" rel=\"noopener\">speculation about the level of quality\u003c/a> for those select concerts naturally flooded Twitter, since anyone who has a history with Ticketmaster knows that the company’s not exactly revered for giving consumers what they want. (\u003ca href=\"https://theringer.com/ticket-industry-problem-solution-e4b3b71fdff6#.xtwqd930o\" target=\"_blank\" rel=\"noopener\">Here\u003c/a>, in fact, is an in-depth run-down by the former CEO of Ticketmaster explaining how the system is \u003ca href=\"https://theringer.com/ticket-industry-problem-solution-e4b3b71fdff6#.xtwqd930o\" target=\"_blank\" rel=\"noopener\">completely rigged against the average person\u003c/a> trying to buy tickets.)\u003c/p>\n\u003cfigure id=\"attachment_11718498\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SublimeWithRome-800x534.jpg\" alt=\"Sublime With Rome.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11718498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SublimeWithRome.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime With Rome.\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday, Ticketmaster released the \u003ca href=\"http://concerts.livenation.com/microsite/settlement\" target=\"_blank\" rel=\"noopener\">list of concerts eligible for the free-voucher redemption\u003c/a>, and you could hear a collective groan across the internet. Alyssa Pereira over at SFGate tirelessly compiled the \u003ca href=\"http://www.sfgate.com/music/article/Ticketmaster-s-list-of-eligible-shows-for-8315390.php#photo-10416389\" target=\"_blank\" rel=\"noopener\">shows in the Bay Area eligible for the free vouchers\u003c/a>, including Bryan Adams, Darius Rucker, Counting Crows, Hall & Oates, Pitbull, Sublime With Rome and many, many others.\u003c/p>\n\u003cp>Counting Crows may be your thing, and that’s cool, no judgment here. But here’s a fact: Barring the miraculous resurrection of John Coltrane who announces a one-night only guest appearance with Adam Duritz, Counting Crows is never, ever going to be able to sell out the 22,500-capacity Shoreline Amphitheater in the year 2016. What Ticketmaster is offering, mostly, is scraps, leftovers, unwanted surplus, #TaxWriteOff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the Bay Area, you’ll notice another trend: The concerts on Ticketmaster’s voucher list are limited entirely to shows at the Shoreline Amphitheater and the Concord Pavilion, a.k.a. objectively the two worst places to see live music in the entire Bay Area. \u003c/p>\n\u003cp>Ticketmaster sells tickets for plenty of other, better venues in the Bay Area, from dozens of different promoters. And yet! Ticketmaster is also owned by Live Nation, the result of \u003ca href=\"https://techcrunch.com/2009/02/10/ticketmaster-and-live-nation-conduct-25-billion-merger-create-live-nation-entertainment/\" target=\"_blank\" rel=\"noopener\">a $2.5 billion merger\u003c/a> in 2009 that many believe \u003ca href=\"http://www.reuters.com/article/us-ticketmaster-livenation-idUSTRE5194DL20090210\" target=\"_blank\" rel=\"noopener\">should have been blocked by U.S. antitrust regulators\u003c/a>. Live Nation, as fate would have it, is the promoter and primary talent buyer for the Shoreline Amphitheater and the Concord Pavilion.\u003c/p>\n\u003cfigure id=\"attachment_11718499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg\" alt=\"The Shoreline Amphitheater.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-11718499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-400x283.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Shoreline.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Shoreline Amphitheater.\u003c/figcaption>\u003c/figure>\n\u003cp>You see where this is going: Ticketmaster’s parent company is using the terms of the class-action settlement as a convenient way to get some of its underperforming shows looking a little bit more successful. (What’s more, the tickets offered are lawn tickets only — far, far from the stage.) Live Nation isn’t even giving customers the option of shows at the Fillmore or the Masonic, both of which it also operates, and one of which was recently named \u003ca href=\"http://consequenceofsound.net/2016/05/go-inside-san-franciscos-the-fillmore-americas-greatest-music-venue-watch/\" target=\"_blank\" rel=\"noopener\">the country’s best venue\u003c/a> for live music.\u003c/p>\n\u003cp>Another problem? The voucher codes seem to be entirely fallible. “You \u003cstrong>may attempt\u003c/strong> to use the codes for redemption on this website,” \u003ca href=\"http://concerts.livenation.com/microsite/settlement\" target=\"_blank\" rel=\"noopener\">Ticketmaster’s site says\u003c/a> (bolding mine). “The ticket codes are available on a first come, first serve basis.” Not “tickets,” mind you; “ticket codes.”\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.nytimes.com/2016/06/22/business/media/ticketmaster-lawsuit-vouchers.html?_r=0\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Ticketmaster sent an estimated $386 million worth of discount codes to nearly 57 million people, according to Steven Blonder, a leading attorney on the lawsuit and a principal at the law firm Much Shelist.\u003c/p>\n\u003cp>Recall that the company is obligated to pay out only $42 million, and it becomes apparent that most of the vouchers will never be redeemed.\u003c/p>\u003c/blockquote>\n\u003cp>That might explain why so many people are reporting \u003ca href=\"https://www.reddit.com/r/Music/comments/4p1p52/ticketmaster_classaction_settlement_problems/\" target=\"_blank\" rel=\"noopener\">voucher codes disappearing\u003c/a> from their personal account! Also, Ticketmaster’s site is \u003ca href=\"https://twitter.com/AkilahObviously/status/744366466473013256\" target=\"_blank\" rel=\"noopener\">crashing\u003c/a> due to high traffic!\u003c/p>\n\u003cfigure id=\"attachment_11722822\" class=\"wp-caption aligncenter\" style=\"max-width: 564px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot.jpg\" alt=\""We expect these settlement ticket codes to be redeemed quickly," reads Ticketmaster's voucher description.\" width=\"564\" height=\"162\" class=\"size-full wp-image-11722822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot.jpg 564w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ticket-master-screenshot-400x115.jpg 400w\" sizes=\"(max-width: 564px) 100vw, 564px\">\u003cfigcaption class=\"wp-caption-text\">“We expect these settlement ticket codes to be redeemed quickly,” reads Ticketmaster’s voucher description.\u003c/figcaption>\u003c/figure>\n\u003cp>I mean, \u003ca href=\"https://www.youtube.com/watch?v=lixDK_tMEhE\" target=\"_blank\" rel=\"noopener\">Dolly Parton, sure\u003c/a>. I’ll probably try to cash in one of my 17 vouchers, and I’ll see you in the long horrible line of cars waiting two hours to get into the Shoreline Amphitheater parking lot while the distant strains of Dolly singing “9 to 5” waft over the scaffolding, just out of reach. And if you’re willing, there are also acts on the list like Snoop Dogg, Prophets of Rage and Gwen Stefani. (Again, the whole list is \u003ca href=\"http://www.sfgate.com/music/article/Ticketmaster-s-list-of-eligible-shows-for-8315390.php#photo-10416389\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But don’t believe for a second that Ticketmaster is doing anything here but unloading the live-music equivalent of junk bonds onto its customers. As goes the familiar refrain about the company’s “convenience” fees: Convenient for whom? Convenient for Ticketmaster.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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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",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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