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"content": "\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B-rnM-MwRHY\u003c/p>\n\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e94dst20C9Y\u003c/p>\n\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ymFX91HwM0\u003c/p>\n\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Ukraine's Jamala is this year's winner with a haunting song about the mass deportation of Crimean Tatars during World War II. Politics are never far from the surface at the European song contest.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\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/B-rnM-MwRHY'\n title='//www.youtube.com/embed/B-rnM-MwRHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\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/e94dst20C9Y'\n title='//www.youtube.com/embed/e94dst20C9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\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/5ymFX91HwM0'\n title='//www.youtube.com/embed/5ymFX91HwM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All day we had been driving down streets lined with abandoned homes and undeveloped lots. We stopped to photograph the thousands and thousands of dead fish washed up onshore. It was hot and they were rotting. We met an old man sitting at a desk chair nailed to the end of a wooden dock.\u003c/p>\n\u003cp>“The Salton Sea is drying up,” he said, “and no one cares.”\u003c/p>\n\u003cp>As we talked the wind picked up, blowing polluted, powdery soil off the exposed seabed and into our faces. On the way out of town we saw a brown sign advertising mud pots, a tourist attraction. So we went.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/264033749\" 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>The Salton Sea is a perfect habitat for mud pots. The area has a \u003ca href=\"http://saltonseamuseum.org/salton_sea_history.html\">peculiar history\u003c/a>. It was once an inland sea, then the delta of the Colorado River. Since the turn of the 20th century it has been a man-made salt lake surrounded by farms. The sea had a brief moment in the 1950s as a resort spot. Real estate boomed, then busted. Today, people come to gawk at the post-apocalyptic landscape and a community of drifters that \u003ca href=\"http://www.salvationmountain.us/\">painted a mountain for Jesus\u003c/a>. Some, though, come to see mud pots.\u003c/p>\n\u003cfigure id=\"attachment_10953528\" class=\"wp-caption alignright\" style=\"max-width: 376px\">\u003cimg class=\" wp-image-10953528\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-800x1200.jpg\" alt=\"Mud pots have a lot to say.\" width=\"376\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-400x600.jpg 400w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003cfigcaption class=\"wp-caption-text\">Mud pots have a lot to say. \u003ccite>(Gundi Vigfusson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mud pots, \u003ca href=\"https://www.nps.gov/yell/learn/nature/mudpots.htm\">like these in Yosemite\u003c/a>, form when there is the right combination of geothermal activity, particulate soil and lack of water. The Salton Sea has plenty of geothermal activity. Geothermal power plants circle the shore, marking the landscape with their giant plumes of steam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of soil, the silty, toxic old seabed is so fine that gusts of wind turn into hazardous duststorms that now \u003ca href=\"http://www.theatlantic.com/science/archive/2015/11/the-airborne-toxic-lake-event/414888/\">pose a health crisis\u003c/a> for nearby towns. As for water, there’s not much around here besides the increasingly salty sea liquid that has \u003ca href=\"http://www.nytimes.com/2012/09/12/us/salton-sea-is-blamed-for-southern-california-stench.html?_r=0\">killed countless tilapia\u003c/a>. It’s a bad place for fish, but a great one for mud pots.\u003c/p>\n\u003cp>We followed the road sign toward the edge of the Salton Sea. The dirt road led to piles of hardened mud, some taller than a man. In the background, a large industrial plant let out a plume of steam, the only landmark on the flat landscape. It was quiet when we shut off the car. That was when we heard one.\u003c/p>\n\u003cp>A burst of steam came up through a pool of silty slurry. We watched mud spurt into the air, shot from below by geothermal heat. There were mud pots all around us.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10953549,10953548,10953551,10953550,10953553,10953554,10953527,10953555,10953552,10953556\"]\u003c/p>\n\u003cp>Mud pots make a great range of noises -- pipping, plopping, plooping sounds. Some speak slowly, some fast. Each pot has its own particular personality.\u003c/p>\n\u003cp>We recorded some two dozen of these mud pots and mixed together all their different songs. If you want to see a pretty rad short movie that features Salton Sea mud pot footage from the 1940s, check out “\u003ca href=\"https://www.youtube.com/watch?v=K1aL6iavv70\">On The Edge\u003c/a>.” For a more modern take, \u003ca href=\"https://www.youtube.com/watch?v=a9hUsVq9q7U\">here are mud pots\u003c/a> in Yosemite.\u003c/p>\n\u003cp>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by the inimitable Icelandic photographer \u003ca href=\"http://www.vigfusson.com/#/\">Gundi Vigfusson\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All day we had been driving down streets lined with abandoned homes and undeveloped lots. We stopped to photograph the thousands and thousands of dead fish washed up onshore. It was hot and they were rotting. We met an old man sitting at a desk chair nailed to the end of a wooden dock.\u003c/p>\n\u003cp>“The Salton Sea is drying up,” he said, “and no one cares.”\u003c/p>\n\u003cp>As we talked the wind picked up, blowing polluted, powdery soil off the exposed seabed and into our faces. On the way out of town we saw a brown sign advertising mud pots, a tourist attraction. So we went.\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/264033749&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/264033749'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Salton Sea is a perfect habitat for mud pots. The area has a \u003ca href=\"http://saltonseamuseum.org/salton_sea_history.html\">peculiar history\u003c/a>. It was once an inland sea, then the delta of the Colorado River. Since the turn of the 20th century it has been a man-made salt lake surrounded by farms. The sea had a brief moment in the 1950s as a resort spot. Real estate boomed, then busted. Today, people come to gawk at the post-apocalyptic landscape and a community of drifters that \u003ca href=\"http://www.salvationmountain.us/\">painted a mountain for Jesus\u003c/a>. Some, though, come to see mud pots.\u003c/p>\n\u003cfigure id=\"attachment_10953528\" class=\"wp-caption alignright\" style=\"max-width: 376px\">\u003cimg class=\" wp-image-10953528\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-800x1200.jpg\" alt=\"Mud pots have a lot to say.\" width=\"376\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-400x600.jpg 400w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003cfigcaption class=\"wp-caption-text\">Mud pots have a lot to say. \u003ccite>(Gundi Vigfusson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mud pots, \u003ca href=\"https://www.nps.gov/yell/learn/nature/mudpots.htm\">like these in Yosemite\u003c/a>, form when there is the right combination of geothermal activity, particulate soil and lack of water. The Salton Sea has plenty of geothermal activity. Geothermal power plants circle the shore, marking the landscape with their giant plumes of steam. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of soil, the silty, toxic old seabed is so fine that gusts of wind turn into hazardous duststorms that now \u003ca href=\"http://www.theatlantic.com/science/archive/2015/11/the-airborne-toxic-lake-event/414888/\">pose a health crisis\u003c/a> for nearby towns. As for water, there’s not much around here besides the increasingly salty sea liquid that has \u003ca href=\"http://www.nytimes.com/2012/09/12/us/salton-sea-is-blamed-for-southern-california-stench.html?_r=0\">killed countless tilapia\u003c/a>. It’s a bad place for fish, but a great one for mud pots.\u003c/p>\n\u003cp>We followed the road sign toward the edge of the Salton Sea. The dirt road led to piles of hardened mud, some taller than a man. In the background, a large industrial plant let out a plume of steam, the only landmark on the flat landscape. It was quiet when we shut off the car. That was when we heard one.\u003c/p>\n\u003cp>A burst of steam came up through a pool of silty slurry. We watched mud spurt into the air, shot from below by geothermal heat. There were mud pots all around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mud pots make a great range of noises -- pipping, plopping, plooping sounds. Some speak slowly, some fast. Each pot has its own particular personality.\u003c/p>\n\u003cp>We recorded some two dozen of these mud pots and mixed together all their different songs. If you want to see a pretty rad short movie that features Salton Sea mud pot footage from the 1940s, check out “\u003ca href=\"https://www.youtube.com/watch?v=K1aL6iavv70\">On The Edge\u003c/a>.” For a more modern take, \u003ca href=\"https://www.youtube.com/watch?v=a9hUsVq9q7U\">here are mud pots\u003c/a> in Yosemite.\u003c/p>\n\u003cp>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Photos by the inimitable Icelandic photographer \u003ca href=\"http://www.vigfusson.com/#/\">Gundi Vigfusson\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If Prince was seeking help for a problem with prescription drugs, it would make sense for him to turn to a California addiction specialist known for new ideas on treatment. Less clear is why he sought care from a local family care physician with an unassuming resume who met with Prince twice in the weeks before his death and prescribed him unknown medications.\u003c/p>\n\u003cp>The day Prince died, he was scheduled to meet with the son of Dr. Howard Kornfeld, the California specialist in addiction treatment and pain management. But in the weeks before Prince’s April 21 death, he met twice with Dr. Michael Todd Schulenberg, who worked at a Minnetonka clinic a few miles from Prince’s Paisley Park studio and home, according to search warrant documents released Tuesday.\u003c/p>\n\u003cp>Prince’s cause of death is still unknown, as the autopsy results haven’t been released. But a law enforcement official has told The Associated Press that investigators are looking into whether he died from an overdose and whether a doctor was prescribing him drugs in the weeks before his death. The official has been briefed on the investigation and spoke to the AP on condition of anonymity because he wasn’t authorized to speak to the media.\u003c/p>\n\u003cp>Investigators interviewed Schulenberg the day Prince died and searched a suburban Minneapolis hospital that employed him. The warrant documents didn’t specify what medications were prescribed or whether Prince took them.\u003c/p>\n\u003cp>The warrant details came out the same day investigators returned to Prince’s estate and stayed for several hours without saying why.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The official who spoke to AP said investigators are seeking to identify every doctor and pharmacy that may have supplied the singer prescription drugs, including online sources, and that the search involves examining computer drives from Prince’s home.\u003c/p>\n\u003cp>It remains unclear why Prince, a world-famous musician worth millions, would seek the help of an experienced but seemingly ordinary local physician instead of first turning to world-class health care. The Star Tribune, citing a source with knowledge of the investigation, previously reported that Prince had been receiving treatment for withdrawal symptoms from a doctor who previously worked with Prince’s longtime friend Kirk Johnson.\u003c/p>\n\u003cp>Johnson’s attorney, F. Clayton Tyler, didn’t immediately respond to a message seeking to confirm that Johnson and Prince shared Schulenberg as a doctor.\u003c/p>\n\u003cp>Schulenberg, 46, worked for North Memorial Medical Center until at least the day of Prince’s death, but he has since left the job. Lesa Bader, a spokeswoman for the health care system, said North Memorial’s personnel records were private and she couldn’t comment on why Schulenberg no longer works there.\u003c/p>\n\u003cp>According to the Minnesota Board of Medical Practice website, Schulenberg has not been subjected to any disciplinary or corrective action in Minnesota or other states. He’s a 1995 graduate of the Oregon Health Sciences University School of Medicine. His license status is listed as active. It expires Oct. 31 of this year.\u003c/p>\n\u003cp>Schulenberg earned his MBA in health care in 2011 from the Opus College of Business at the University of St. Thomas in Minneapolis. In a 2012 YouTube video posted by the university, which was removed Wednesday, Schulenberg said he was part of the “leadership group” at Ridgeview Medical Center in Carver County and that his job required him to put in demanding hours. The Ridgeview website said Schulenberg specialized in family medicine and obstetrics.\u003c/p>\n\u003cp>“As a full-time family physician, that probably demands about 50 hours a week,” he said in the video. “I still deliver babies, so I can be called in on an unexpected basis and there goes my evening.” Schulenberg described himself in the video as a father of five.\u003c/p>\n\u003cp>Johnson, Prince’s friend, is mentioned in the search warrant documents as having been interviewed by investigators and telling them of medical treatment that Prince received for an unspecified illness in 2014 or 2015 at the Two Twelve Medical Center in Chaska. Schulenberg worked for Ridgeview Medical Center, which operates the Two Twelve, until August 2014, though its unknown whether he worked at Two Twelve when Prince was treated there.\u003c/p>\n\u003cp>No one answered the door Wednesday at the Schulenberg home in Excelsior, a Minneapolis suburb also just a few minutes’ drive from Paisley Park. The blinds were drawn and the two-story house was dark, though a ceiling fan could be seen revolving inside. Several neighbors said the development was new and they didn’t know Schulenberg.\u003c/p>\n\u003cp>At their old neighborhood in nearby Chaska, several people said the Schulenbergs were a quiet family that mostly kept to themselves.\u003c/p>\n\u003cp>According to the search warrant revealed Tuesday, Schulenberg had seen Prince on April 7 and on April 20, the day before he died. Schulenberg told investigators he came upon the death scene at Paisley Park while dropping off unspecified test results for Prince on April 21.\u003c/p>\n\u003cp>The day before he died, representatives for Prince reached out to Howard Kornfeld seeking help for the musician, William Mauzy, a lawyer for the California doctor, said last week. Kornfeld couldn’t immediately fly to Minnesota to meet with Prince, so he sent his son Andrew that night instead, he said.\u003c/p>\n\u003cp>Andrew Kornfeld had a small amount of the prescription drug buprenorphine and planned to give it to a Minnesota doctor who was scheduled to see Prince the next morning, said Mauzy, who wouldn’t disclose the doctor’s name. Andrew was among three people at Paisley Park when Prince was found unresponsive, and he called 911.\u003c/p>\n\u003cp>Schulenberg’s name doesn’t appear on a list of Minnesota doctors authorized to treat opioid dependency with the buprenorphine, according to a database maintained by the federal Substance Abuse and Mental Health Services Administration. The drug, which is also known by its brand name Suboxone, helps control drug cravings and withdrawal symptoms. To be certified, doctors are required to undergo an eight-hour training course.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Jeff Baenen, in Excelsior, Minnesota, and Michael Tarm in Chicago contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Prince was seeking help for a problem with prescription drugs, it would make sense for him to turn to a California addiction specialist known for new ideas on treatment. Less clear is why he sought care from a local family care physician with an unassuming resume who met with Prince twice in the weeks before his death and prescribed him unknown medications.\u003c/p>\n\u003cp>The day Prince died, he was scheduled to meet with the son of Dr. Howard Kornfeld, the California specialist in addiction treatment and pain management. But in the weeks before Prince’s April 21 death, he met twice with Dr. Michael Todd Schulenberg, who worked at a Minnetonka clinic a few miles from Prince’s Paisley Park studio and home, according to search warrant documents released Tuesday.\u003c/p>\n\u003cp>Prince’s cause of death is still unknown, as the autopsy results haven’t been released. But a law enforcement official has told The Associated Press that investigators are looking into whether he died from an overdose and whether a doctor was prescribing him drugs in the weeks before his death. The official has been briefed on the investigation and spoke to the AP on condition of anonymity because he wasn’t authorized to speak to the media.\u003c/p>\n\u003cp>Investigators interviewed Schulenberg the day Prince died and searched a suburban Minneapolis hospital that employed him. The warrant documents didn’t specify what medications were prescribed or whether Prince took them.\u003c/p>\n\u003cp>The warrant details came out the same day investigators returned to Prince’s estate and stayed for several hours without saying why.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The official who spoke to AP said investigators are seeking to identify every doctor and pharmacy that may have supplied the singer prescription drugs, including online sources, and that the search involves examining computer drives from Prince’s home.\u003c/p>\n\u003cp>It remains unclear why Prince, a world-famous musician worth millions, would seek the help of an experienced but seemingly ordinary local physician instead of first turning to world-class health care. The Star Tribune, citing a source with knowledge of the investigation, previously reported that Prince had been receiving treatment for withdrawal symptoms from a doctor who previously worked with Prince’s longtime friend Kirk Johnson.\u003c/p>\n\u003cp>Johnson’s attorney, F. Clayton Tyler, didn’t immediately respond to a message seeking to confirm that Johnson and Prince shared Schulenberg as a doctor.\u003c/p>\n\u003cp>Schulenberg, 46, worked for North Memorial Medical Center until at least the day of Prince’s death, but he has since left the job. Lesa Bader, a spokeswoman for the health care system, said North Memorial’s personnel records were private and she couldn’t comment on why Schulenberg no longer works there.\u003c/p>\n\u003cp>According to the Minnesota Board of Medical Practice website, Schulenberg has not been subjected to any disciplinary or corrective action in Minnesota or other states. He’s a 1995 graduate of the Oregon Health Sciences University School of Medicine. His license status is listed as active. It expires Oct. 31 of this year.\u003c/p>\n\u003cp>Schulenberg earned his MBA in health care in 2011 from the Opus College of Business at the University of St. Thomas in Minneapolis. In a 2012 YouTube video posted by the university, which was removed Wednesday, Schulenberg said he was part of the “leadership group” at Ridgeview Medical Center in Carver County and that his job required him to put in demanding hours. The Ridgeview website said Schulenberg specialized in family medicine and obstetrics.\u003c/p>\n\u003cp>“As a full-time family physician, that probably demands about 50 hours a week,” he said in the video. “I still deliver babies, so I can be called in on an unexpected basis and there goes my evening.” Schulenberg described himself in the video as a father of five.\u003c/p>\n\u003cp>Johnson, Prince’s friend, is mentioned in the search warrant documents as having been interviewed by investigators and telling them of medical treatment that Prince received for an unspecified illness in 2014 or 2015 at the Two Twelve Medical Center in Chaska. Schulenberg worked for Ridgeview Medical Center, which operates the Two Twelve, until August 2014, though its unknown whether he worked at Two Twelve when Prince was treated there.\u003c/p>\n\u003cp>No one answered the door Wednesday at the Schulenberg home in Excelsior, a Minneapolis suburb also just a few minutes’ drive from Paisley Park. The blinds were drawn and the two-story house was dark, though a ceiling fan could be seen revolving inside. Several neighbors said the development was new and they didn’t know Schulenberg.\u003c/p>\n\u003cp>At their old neighborhood in nearby Chaska, several people said the Schulenbergs were a quiet family that mostly kept to themselves.\u003c/p>\n\u003cp>According to the search warrant revealed Tuesday, Schulenberg had seen Prince on April 7 and on April 20, the day before he died. Schulenberg told investigators he came upon the death scene at Paisley Park while dropping off unspecified test results for Prince on April 21.\u003c/p>\n\u003cp>The day before he died, representatives for Prince reached out to Howard Kornfeld seeking help for the musician, William Mauzy, a lawyer for the California doctor, said last week. Kornfeld couldn’t immediately fly to Minnesota to meet with Prince, so he sent his son Andrew that night instead, he said.\u003c/p>\n\u003cp>Andrew Kornfeld had a small amount of the prescription drug buprenorphine and planned to give it to a Minnesota doctor who was scheduled to see Prince the next morning, said Mauzy, who wouldn’t disclose the doctor’s name. Andrew was among three people at Paisley Park when Prince was found unresponsive, and he called 911.\u003c/p>\n\u003cp>Schulenberg’s name doesn’t appear on a list of Minnesota doctors authorized to treat opioid dependency with the buprenorphine, according to a database maintained by the federal Substance Abuse and Mental Health Services Administration. The drug, which is also known by its brand name Suboxone, helps control drug cravings and withdrawal symptoms. To be certified, doctors are required to undergo an eight-hour training course.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Jeff Baenen, in Excelsior, Minnesota, and Michael Tarm in Chicago contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rapper Yung Lott and Co-Plaintiffs Detail Civil Rights Lawsuit Against SFPD",
"headTitle": "Rapper Yung Lott and Co-Plaintiffs Detail Civil Rights Lawsuit Against SFPD | KQED",
"content": "\u003cp>When Hunters Point rappers Yung Lott (Arthur Stern, Jr.) and Joeski (Joseph McGowan) set out with friends and videographer Brian Storm (Brian MacArthur) to shoot a music video last March, they’d intended to unite artists from different corners of an often-fraught community through music. Instead, they wound up united as co-plaintiffs in a federal civil rights lawsuit filed against the SFPD, alleging illegal detainment and unreasonable search and seizure motivated by racial bias.\u003c/p>\n\u003cp>Part of what triggered the case was captured by MacArthur’s video camera and widely viewed on YouTube: Yung Lott, Joeski, Dante Andry and 16 other young black men were suddenly surrounded at a Hunters Point playground and forced to the ground by an almost equal number of police officers. Precipitating the officers’ actions was the arrival at the playground of a man with a gun, later identified as Richmond resident Taj Williams, whom the plaintiffs said they did not know. The lawsuit describes a nearly two-hour long detainment in which both uniformed and plainclothes officers questioned, photographed, and confiscated the possessions of each person. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-rEMBLbYodA\u003c/p>\n\u003cp>The lawsuit — which proceeds to trial if a settlement is not reached by May 24 — comes on the heels of SFPD shootings of Mario Woods and Luis Gongora, revelations about \u003ca href=\"http://www.nytimes.com/2016/04/30/us/san-francisco-police-orders-officers-to-complete-anti-harassment-class.html\" target=\"_blank\" rel=\"noopener\">racist texting\u003c/a> on the force, a \u003ca href=\"http://www.sfgate.com/bayarea/article/Panel-created-by-DA-says-SFPD-lacks-7423792.php\" target=\"_blank\" rel=\"noopener\">highly critical preliminary report\u003c/a> from a panel of judges convened to the assess the department, and pressure from an array of protesters (including the \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">‘Frisco Five’\u003c/a> hunger strikers) to reform the department and remove Police Chief Greg Suhr. \u003c/p>\n\u003cp>In their first group interview since the incident, Stern, Andry, and MacArthur — three of the lawsuit’s four plaintiffs, less McGowan — provided new details and context about the disrupted video shoot, describing it as the culmination of routinized police harassment in Hunters Point. Speaking in the downtown San Francisco office of their lawyer Richard Richardson, they reported that their forced detainment only served to intensify a climate of fear towards the police in San Francisco’s last predominantly black neighborhood. \u003c/p>\n\u003cfigure id=\"attachment_11571458\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/YungLott.Hat_.jpg\" alt=\"Arthur Stern, Jr., who records and performs as Yung Lott.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11571458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Hat_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Hat_-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Stern, Jr., who records and performs as Yung Lott. \u003ccite>(Yung Lott / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andry, in particular, said that the experience and evidence relevant to the lawsuit had thoroughly eroded his trust in the police, and stirred concern for his safety among friends and family. “I’ve just been going to work or in the house, not really being outside,” he said, appearing crestfallen. “And how [the police] said in the audio like, ‘Oh, we gon’ pay ‘em a visit’ — that made it deeper.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andry’s quote referred to \u003ca href=\"http://www.sfweekly.com/thesnitch/2016/05/03/turns-out-sfpds-go-to-guy-on-gangs-is-a-bit-of-bigot-too\" target=\"_blank\" rel=\"noopener\">a recording released last week\u003c/a> from the Public Defender’s office, wherein multiple officers recap the mass detainment with Sgt. Leonard Broberg. (Considered an expert on local gangs, Broberg is one of the seven officers named as defendants in the suit.) According to \u003cem>SF Weekly\u003c/em>, who \u003ca href=\"http://www.sfweekly.com/thesnitch/2016/05/03/turns-out-sfpds-go-to-guy-on-gangs-is-a-bit-of-bigot-too\" target=\"_blank\" rel=\"noopener\">originally posted the audio\u003c/a>, the Public Defender’s office had “complained about it to the Police Department but has not received a response.”\u003c/p>\n\u003cp>In a cavalier tone shortly after the incident, officers call the men “fat” and “retarded.” Broberg calls another an “ugly fucker.” One officer says the ambush was “beautiful.” “They were trapped in there, eh?” says another, “No getting out.” Broberg says, “Brian MacArthur, Arthur Stern, that’s who it was with the beard: Dante Andry… Damn, you guys had everybody up there.” He continues, “This is good!” \u003c/p>\n\u003cp>(After the audio was made public, Broberg told \u003cem>SF Weekly\u003c/em> that the recording was released in “retaliation,” and apologized for his crude language.)\u003c/p>\n\u003cfigure id=\"attachment_11571560\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Bayview.jpg\" alt=\"The SFPD Bayview Station.\" width=\"720\" height=\"418\" class=\"size-full wp-image-11571560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Bayview.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Bayview-400x232.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The SFPD Bayview Station. \u003ccite>(SFPD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initial statements from the SFPD last year and city attorneys’ defense argues that the detainment occurred due to the group’s incidental proximity to Williams, and that it was justified on the grounds of officer safety. However, the newly revealed recording strengthens plaintiffs’ belief that the 19 men were targeted.\u003c/p>\n\u003cp>Stern, Andry, and MacArthur said that during the day’s shoot, they initially noticed watchful cops while leaving the first film set. Later, at the playground, they informed passing officers that they were shooting a video. Those officers then parked nearby to continue observing the crowd with binoculars, according to the plaintiffs, and after about 20 minutes, saw Williams pull the slide back on a handgun in front of two other men at the periphery of the park and then walk toward the group. \u003c/p>\n\u003cp>Williams was 10 to 15 feet away from the officers when he brandished the gun, according to the complaint, but he had time to walk over to the group and pace back and forth before the police arrived, guns drawn, without identifying themselves. (Williams, wearing a grey hoodie, is in the frame of the video for at least thirty seconds before the police arrive.)\u003c/p>\n\u003cfigure id=\"attachment_11571594\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/YungLott.Screen.jpg\" alt=\"The set of the Yung Lott video shoot, March 8, 2015.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The set of the Yung Lott video shoot, March 8, 2015. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint alleges that the police “recklessly and/or intentionally” allowed Williams to intermingle with the crowd in order to create a pretext for the mass detainment. “By doing so,” it reads, “the above-named SFPD officers created a scenario where if these young African-American men had moved out of innocent fear, the SFPD officers would have gunned down the entire group.”\u003c/p>\n\u003cp>“With all of the incidents going on not only in San Francisco but nationwide, I thought we was about to die,” said Andry. “They came in screaming and all it take is \u003cem>POW\u003c/em>, then everyone shooting.”\u003c/p>\n\u003cp>Once Williams was arrested, all 19 men were detained for approximately two hours, according to the complaint, contradicting initial police claims that they were held for approximately one minute. \u003c/p>\n\u003cp>Three days after the incident, the \u003ca href=\"https://sfpdbayviewstation.wordpress.com/2015/03/11/march-11-2015-bayview-newsletter/\" target=\"_blank\" rel=\"noopener\">Bayview Police Station newsletter\u003c/a> characterized “many” in the group as “gang members” (a label \u003ca href=\"http://www.sfweekly.com/sanfrancisco/menace-to-society-why-many-young-black-men-are-accused-of-being-in-gangs/Content?oid=2185979\" target=\"_blank\" rel=\"noopener\">all too easy\u003c/a> for young black men to be slapped with), and reported the arrest of Williams, as well as that of another man for possession of cocaine found during the mass search. In 2015, the \u003cem>San Francisco Chronicle\u003c/em> \u003ca href=\"http://www.sfgate.com/crime/article/Lawsuit-filed-over-raid-of-rap-video-by-San-6262504.php\" target=\"_blank\" rel=\"noopener\">quoted from the SFPD response\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>…police said officers detained members of the group “for officer safety reasons” before releasing them. “The detention for this whole incident was for a man with a gun — not for making a rap video,” police said.\u003c/p>\u003c/blockquote>\n\u003cp>For the four plaintiffs, questions remain: If the officers observed no wrongdoing until Williams brandished a gun, and no action was pre-planned, then why were approximately 20 cops already poised to pounce on the set? \u003c/p>\n\u003cfigure id=\"attachment_11571459\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lott.Group_.jpg\" alt=\"Arthur Stern Jr., Dante Andry and Brian MacArthur (L-R) in 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Stern Jr., Dante Andry and Brian MacArthur (L-R) in 2016. \u003ccite>(Photo: Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, MacArthur went on to \u003ca href=\"https://www.youtube.com/watch?v=eRnHxffe8fg\" target=\"_blank\" rel=\"noopener\">complete the video\u003c/a>, punctuating footage of Candlestick Park’s demolition — which, along with the destruction of housing, gave the song its title, “Demo” — along with clips of the detainment while nine local artists trade boasts about their respective neighborhoods and cliques. But it doesn’t have nearly as many views on YouTube as the 11-minute detainment footage.\u003c/p>\n\u003cp>Richardson, their lawyer, said that a significant portion of city attorneys’ defense with respect to damages is that the plaintiffs actually benefited from the attention. Stern and Andry strongly disagree. On account of the negative publicity, Stern said, it’s been exceedingly difficult to book shows, previously a significant source of income for him and his family. There are no local gigs announced around his upcoming album \u003cem>Tha Flood\u003c/em>, which features prominent guest artists such as Mozzy and J. Stalin.\u003c/p>\n\u003cp>Stern and Andry, who grew up together in Bayview-Hunters Point, contextualized the incident with personal histories of often seemingly baseless police attention, including random stops and goading from officers in unmarked cars. As Stern said, “I’ve been getting stereotyped and harassed in my neighborhood since I stepped off the stoop as a young kid.” \u003c/p>\n\u003cfigure id=\"attachment_11571598\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lott.Sitting.jpg\" alt=\"Police detain participants in Yung Lott's 'Demo' video shoot, March 8, 2015. \" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Police detain participants in Yung Lott’s ‘Demo’ video shoot, March 8, 2015. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MacArthur — a full-time videographer whose portfolio includes videos featuring rappers such as Philthy Rich and Keak Da Sneak — learned his craft in a youth program and built a career through references. He also directed the \u003ca href=\"https://www.youtube.com/watch?v=uputuwxRjgo\" target=\"_blank\" rel=\"noopener\">2008 feature film \u003cem>A Choice of Weapons\u003c/em>\u003c/a>, which follows young Hunters Point residents making a documentary about the neighborhood while struggling through eviction, violence, and environmental pollution. Such systemic disadvantage would increasingly align with his personal experience.\u003c/p>\n\u003cp>Like Stern and Andry, MacArthur said last year’s detainment follows a pattern of countless stops by the police, including a 2013 arrest after matching the description of a black man with a beard, an incident also included in the lawsuit. The \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">‘Frisco Five’ protest at Mission Station\u003c/a> proved especially resonant to MacArthur: that’s where he was held for two days before being released without charges. Referring to the hunger strikers — which include rappers Equipto, Selassie, and Ike Plump — he added, “Musicians are our politicians.” \u003c/p>\n\u003cp>Although MacArthur believes his experience with a “pattern of harassment” spans much of San Francisco, he said that it feels especially pronounced in the southeast neighborhood where he was born.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I feel like Hunters Point is its own little world,” he said, “where the cops feel like they can bend the rules.” \u003c/p>\n\n",
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"excerpt": "Artists in a federal civil rights lawsuit against the SFPD describe a pattern of profiling before their mass detainment last March, and lingering fear in its aftermath.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Hunters Point rappers Yung Lott (Arthur Stern, Jr.) and Joeski (Joseph McGowan) set out with friends and videographer Brian Storm (Brian MacArthur) to shoot a music video last March, they’d intended to unite artists from different corners of an often-fraught community through music. Instead, they wound up united as co-plaintiffs in a federal civil rights lawsuit filed against the SFPD, alleging illegal detainment and unreasonable search and seizure motivated by racial bias.\u003c/p>\n\u003cp>Part of what triggered the case was captured by MacArthur’s video camera and widely viewed on YouTube: Yung Lott, Joeski, Dante Andry and 16 other young black men were suddenly surrounded at a Hunters Point playground and forced to the ground by an almost equal number of police officers. Precipitating the officers’ actions was the arrival at the playground of a man with a gun, later identified as Richmond resident Taj Williams, whom the plaintiffs said they did not know. The lawsuit describes a nearly two-hour long detainment in which both uniformed and plainclothes officers questioned, photographed, and confiscated the possessions of each person. \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/-rEMBLbYodA'\n title='//www.youtube.com/embed/-rEMBLbYodA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lawsuit — which proceeds to trial if a settlement is not reached by May 24 — comes on the heels of SFPD shootings of Mario Woods and Luis Gongora, revelations about \u003ca href=\"http://www.nytimes.com/2016/04/30/us/san-francisco-police-orders-officers-to-complete-anti-harassment-class.html\" target=\"_blank\" rel=\"noopener\">racist texting\u003c/a> on the force, a \u003ca href=\"http://www.sfgate.com/bayarea/article/Panel-created-by-DA-says-SFPD-lacks-7423792.php\" target=\"_blank\" rel=\"noopener\">highly critical preliminary report\u003c/a> from a panel of judges convened to the assess the department, and pressure from an array of protesters (including the \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">‘Frisco Five’\u003c/a> hunger strikers) to reform the department and remove Police Chief Greg Suhr. \u003c/p>\n\u003cp>In their first group interview since the incident, Stern, Andry, and MacArthur — three of the lawsuit’s four plaintiffs, less McGowan — provided new details and context about the disrupted video shoot, describing it as the culmination of routinized police harassment in Hunters Point. Speaking in the downtown San Francisco office of their lawyer Richard Richardson, they reported that their forced detainment only served to intensify a climate of fear towards the police in San Francisco’s last predominantly black neighborhood. \u003c/p>\n\u003cfigure id=\"attachment_11571458\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/YungLott.Hat_.jpg\" alt=\"Arthur Stern, Jr., who records and performs as Yung Lott.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11571458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Hat_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Hat_-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Stern, Jr., who records and performs as Yung Lott. \u003ccite>(Yung Lott / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andry, in particular, said that the experience and evidence relevant to the lawsuit had thoroughly eroded his trust in the police, and stirred concern for his safety among friends and family. “I’ve just been going to work or in the house, not really being outside,” he said, appearing crestfallen. “And how [the police] said in the audio like, ‘Oh, we gon’ pay ‘em a visit’ — that made it deeper.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andry’s quote referred to \u003ca href=\"http://www.sfweekly.com/thesnitch/2016/05/03/turns-out-sfpds-go-to-guy-on-gangs-is-a-bit-of-bigot-too\" target=\"_blank\" rel=\"noopener\">a recording released last week\u003c/a> from the Public Defender’s office, wherein multiple officers recap the mass detainment with Sgt. Leonard Broberg. (Considered an expert on local gangs, Broberg is one of the seven officers named as defendants in the suit.) According to \u003cem>SF Weekly\u003c/em>, who \u003ca href=\"http://www.sfweekly.com/thesnitch/2016/05/03/turns-out-sfpds-go-to-guy-on-gangs-is-a-bit-of-bigot-too\" target=\"_blank\" rel=\"noopener\">originally posted the audio\u003c/a>, the Public Defender’s office had “complained about it to the Police Department but has not received a response.”\u003c/p>\n\u003cp>In a cavalier tone shortly after the incident, officers call the men “fat” and “retarded.” Broberg calls another an “ugly fucker.” One officer says the ambush was “beautiful.” “They were trapped in there, eh?” says another, “No getting out.” Broberg says, “Brian MacArthur, Arthur Stern, that’s who it was with the beard: Dante Andry… Damn, you guys had everybody up there.” He continues, “This is good!” \u003c/p>\n\u003cp>(After the audio was made public, Broberg told \u003cem>SF Weekly\u003c/em> that the recording was released in “retaliation,” and apologized for his crude language.)\u003c/p>\n\u003cfigure id=\"attachment_11571560\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Bayview.jpg\" alt=\"The SFPD Bayview Station.\" width=\"720\" height=\"418\" class=\"size-full wp-image-11571560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Bayview.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Bayview-400x232.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The SFPD Bayview Station. \u003ccite>(SFPD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initial statements from the SFPD last year and city attorneys’ defense argues that the detainment occurred due to the group’s incidental proximity to Williams, and that it was justified on the grounds of officer safety. However, the newly revealed recording strengthens plaintiffs’ belief that the 19 men were targeted.\u003c/p>\n\u003cp>Stern, Andry, and MacArthur said that during the day’s shoot, they initially noticed watchful cops while leaving the first film set. Later, at the playground, they informed passing officers that they were shooting a video. Those officers then parked nearby to continue observing the crowd with binoculars, according to the plaintiffs, and after about 20 minutes, saw Williams pull the slide back on a handgun in front of two other men at the periphery of the park and then walk toward the group. \u003c/p>\n\u003cp>Williams was 10 to 15 feet away from the officers when he brandished the gun, according to the complaint, but he had time to walk over to the group and pace back and forth before the police arrived, guns drawn, without identifying themselves. (Williams, wearing a grey hoodie, is in the frame of the video for at least thirty seconds before the police arrive.)\u003c/p>\n\u003cfigure id=\"attachment_11571594\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/YungLott.Screen.jpg\" alt=\"The set of the Yung Lott video shoot, March 8, 2015.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/YungLott.Screen-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">The set of the Yung Lott video shoot, March 8, 2015. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint alleges that the police “recklessly and/or intentionally” allowed Williams to intermingle with the crowd in order to create a pretext for the mass detainment. “By doing so,” it reads, “the above-named SFPD officers created a scenario where if these young African-American men had moved out of innocent fear, the SFPD officers would have gunned down the entire group.”\u003c/p>\n\u003cp>“With all of the incidents going on not only in San Francisco but nationwide, I thought we was about to die,” said Andry. “They came in screaming and all it take is \u003cem>POW\u003c/em>, then everyone shooting.”\u003c/p>\n\u003cp>Once Williams was arrested, all 19 men were detained for approximately two hours, according to the complaint, contradicting initial police claims that they were held for approximately one minute. \u003c/p>\n\u003cp>Three days after the incident, the \u003ca href=\"https://sfpdbayviewstation.wordpress.com/2015/03/11/march-11-2015-bayview-newsletter/\" target=\"_blank\" rel=\"noopener\">Bayview Police Station newsletter\u003c/a> characterized “many” in the group as “gang members” (a label \u003ca href=\"http://www.sfweekly.com/sanfrancisco/menace-to-society-why-many-young-black-men-are-accused-of-being-in-gangs/Content?oid=2185979\" target=\"_blank\" rel=\"noopener\">all too easy\u003c/a> for young black men to be slapped with), and reported the arrest of Williams, as well as that of another man for possession of cocaine found during the mass search. In 2015, the \u003cem>San Francisco Chronicle\u003c/em> \u003ca href=\"http://www.sfgate.com/crime/article/Lawsuit-filed-over-raid-of-rap-video-by-San-6262504.php\" target=\"_blank\" rel=\"noopener\">quoted from the SFPD response\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>…police said officers detained members of the group “for officer safety reasons” before releasing them. “The detention for this whole incident was for a man with a gun — not for making a rap video,” police said.\u003c/p>\u003c/blockquote>\n\u003cp>For the four plaintiffs, questions remain: If the officers observed no wrongdoing until Williams brandished a gun, and no action was pre-planned, then why were approximately 20 cops already poised to pounce on the set? \u003c/p>\n\u003cfigure id=\"attachment_11571459\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lott.Group_.jpg\" alt=\"Arthur Stern Jr., Dante Andry and Brian MacArthur (L-R) in 2016.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Group_-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Stern Jr., Dante Andry and Brian MacArthur (L-R) in 2016. \u003ccite>(Photo: Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, MacArthur went on to \u003ca href=\"https://www.youtube.com/watch?v=eRnHxffe8fg\" target=\"_blank\" rel=\"noopener\">complete the video\u003c/a>, punctuating footage of Candlestick Park’s demolition — which, along with the destruction of housing, gave the song its title, “Demo” — along with clips of the detainment while nine local artists trade boasts about their respective neighborhoods and cliques. But it doesn’t have nearly as many views on YouTube as the 11-minute detainment footage.\u003c/p>\n\u003cp>Richardson, their lawyer, said that a significant portion of city attorneys’ defense with respect to damages is that the plaintiffs actually benefited from the attention. Stern and Andry strongly disagree. On account of the negative publicity, Stern said, it’s been exceedingly difficult to book shows, previously a significant source of income for him and his family. There are no local gigs announced around his upcoming album \u003cem>Tha Flood\u003c/em>, which features prominent guest artists such as Mozzy and J. Stalin.\u003c/p>\n\u003cp>Stern and Andry, who grew up together in Bayview-Hunters Point, contextualized the incident with personal histories of often seemingly baseless police attention, including random stops and goading from officers in unmarked cars. As Stern said, “I’ve been getting stereotyped and harassed in my neighborhood since I stepped off the stoop as a young kid.” \u003c/p>\n\u003cfigure id=\"attachment_11571598\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Lott.Sitting.jpg\" alt=\"Police detain participants in Yung Lott's 'Demo' video shoot, March 8, 2015. \" width=\"1100\" height=\"619\" class=\"size-full wp-image-11571598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Lott.Sitting-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Police detain participants in Yung Lott’s ‘Demo’ video shoot, March 8, 2015. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>MacArthur — a full-time videographer whose portfolio includes videos featuring rappers such as Philthy Rich and Keak Da Sneak — learned his craft in a youth program and built a career through references. He also directed the \u003ca href=\"https://www.youtube.com/watch?v=uputuwxRjgo\" target=\"_blank\" rel=\"noopener\">2008 feature film \u003cem>A Choice of Weapons\u003c/em>\u003c/a>, which follows young Hunters Point residents making a documentary about the neighborhood while struggling through eviction, violence, and environmental pollution. Such systemic disadvantage would increasingly align with his personal experience.\u003c/p>\n\u003cp>Like Stern and Andry, MacArthur said last year’s detainment follows a pattern of countless stops by the police, including a 2013 arrest after matching the description of a black man with a beard, an incident also included in the lawsuit. The \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">‘Frisco Five’ protest at Mission Station\u003c/a> proved especially resonant to MacArthur: that’s where he was held for two days before being released without charges. Referring to the hunger strikers — which include rappers Equipto, Selassie, and Ike Plump — he added, “Musicians are our politicians.” \u003c/p>\n\u003cp>Although MacArthur believes his experience with a “pattern of harassment” spans much of San Francisco, he said that it feels especially pronounced in the southeast neighborhood where he was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Arhoolie Records, the El Cerrito-based roots music label that released records from blues legends such as Big Mama Thornton, Lightnin’ Hopkins and Mississippi Fred McDowell, announced Tuesday that its catalog is being acquired by Smithsonian Folkways Recordings, the label run by the Smithsonian Museum.\u003c/p>\n\u003cp>In a press release, Arhoolie founder Chris Strachwitz, 90 years old, said that the sale is intended to ensure that the label’s 350 releases would continue to be available for the music-buying public after he passes.\u003c/p>\n\u003cp>“Since I’m not King Tut, I can’t take my Arhoolie baby with me. It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket,'” Strachwitz wrote. “I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”\u003c/p>\n\u003cp>Strachwitz started Arhoolie Records in 1960 with goal of releasing records by obscure and sometimes forgotten artists, and Strachwitz would typically record the releases himself. He began with blues artists such as Mance Lipscomb and Big Joe Williams, but his label would expand to include zydeco, bluegrass and Tejano (Texas-based Mexican American music), among other genres.\u003c/p>\n\u003cp>The sale comes just weeks after Strachwitz was awarded a Grammy — the Trustees Award — for his work preserving the music of artists outside of popular culture. He was honored in a low-key ceremony along with songwriter Fred Foster and avant-garde composer John Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The purchase of Arhoolie was made possible by a large grant from Laura and Ed Littlefield of the Sage Foundation, who \u003ca href=\"http://www.nytimes.com/2016/05/11/arts/music/smithsonian-folkways-acquires-arhoolie-records-catalog.html\" target=\"_blank\" rel=\"noopener\">basically bought the label’s catalog\u003c/a> and handed it off to Smithsonian Folkways, leaving a 40 percent share for Strachwitz’s partner, Tom Diamant.\u003c/p>\n\u003cp>For independent label owners such as Scott Soriano, who runs the Sacramento-based SS Records, the Arhoolie sale was smart on Strachwitz’s part:\u003c/p>\n\u003cp>https://www.facebook.com/SORIANO.SS/posts/10154140781688695\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smithsonian Folkways Recordings began in 1987, the result of the museum buying the catalog of the Folkways label after its founder Moe Asch died the year before. Folkways, an influence on Strachwitz, recorded and released the work of Leadbelly (“In the Pines”), Woody Guthrie and the highly-influential \u003ci>Anthology of American Folk Music.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arhoolie Records, the El Cerrito-based roots music label that released records from blues legends such as Big Mama Thornton, Lightnin’ Hopkins and Mississippi Fred McDowell, announced Tuesday that its catalog is being acquired by Smithsonian Folkways Recordings, the label run by the Smithsonian Museum.\u003c/p>\n\u003cp>In a press release, Arhoolie founder Chris Strachwitz, 90 years old, said that the sale is intended to ensure that the label’s 350 releases would continue to be available for the music-buying public after he passes.\u003c/p>\n\u003cp>“Since I’m not King Tut, I can’t take my Arhoolie baby with me. It was Moe Asch, founder of Folkways Records, who told me in so many words, ‘Chris, you’ve got to think about what you are going to do with all your stuff when you kick the bucket,'” Strachwitz wrote. “I am very pleased that Arhoolie has found a new home at the Smithsonian, where they are committed to keeping everything in print and available to the public by one method or another. It has been fun running Arhoolie Records for the past 55 years. I plan to continue to produce records and assist the staff at Smithsonian Folkways where I can.”\u003c/p>\n\u003cp>Strachwitz started Arhoolie Records in 1960 with goal of releasing records by obscure and sometimes forgotten artists, and Strachwitz would typically record the releases himself. He began with blues artists such as Mance Lipscomb and Big Joe Williams, but his label would expand to include zydeco, bluegrass and Tejano (Texas-based Mexican American music), among other genres.\u003c/p>\n\u003cp>The sale comes just weeks after Strachwitz was awarded a Grammy — the Trustees Award — for his work preserving the music of artists outside of popular culture. He was honored in a low-key ceremony along with songwriter Fred Foster and avant-garde composer John Cage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The purchase of Arhoolie was made possible by a large grant from Laura and Ed Littlefield of the Sage Foundation, who \u003ca href=\"http://www.nytimes.com/2016/05/11/arts/music/smithsonian-folkways-acquires-arhoolie-records-catalog.html\" target=\"_blank\" rel=\"noopener\">basically bought the label’s catalog\u003c/a> and handed it off to Smithsonian Folkways, leaving a 40 percent share for Strachwitz’s partner, Tom Diamant.\u003c/p>\n\u003cp>For independent label owners such as Scott Soriano, who runs the Sacramento-based SS Records, the Arhoolie sale was smart on Strachwitz’s part:\u003c/p>\n\u003cp>https://www.facebook.com/SORIANO.SS/posts/10154140781688695\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smithsonian Folkways Recordings began in 1987, the result of the museum buying the catalog of the Folkways label after its founder Moe Asch died the year before. Folkways, an influence on Strachwitz, recorded and released the work of Leadbelly (“In the Pines”), Woody Guthrie and the highly-influential \u003ci>Anthology of American Folk Music.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prince's Death Sparks Minnesota Bill to Clarify Artist Rights",
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"content": "\u003cp>Prince carefully guarded his public image in life, and now some Minnesota lawmakers are trying to ensure that his estate can continue doing so after his death.\u003c/p>\n\u003cp>A Minnesota House committee on Tuesday began debating a measure that would create a so-called Right of Publicity in the state, which would clarify the rights of artists to control the commercial use of their names, likenesses, images, voices and signatures, and to extend those protections even after they die.\u003c/p>\n\u003cp>Other states have similar laws, but Prince’s death brought the question to Minnesota of how to ensure that an artist’s legacy remains in the hands of his or her estate. That occurred to Sen. Bobby Joe Champion when he dropped in on one of many Prince celebrations and saw people selling T-shirts with Prince’s likeness that he believes were probably unlicensed.\u003c/p>\n\u003cp>“It raised a really important issue to say: ‘Well, hold up. Do we have any protections here in Minnesota around a person still being able to control their likeness and their image even after their death?'” said the Minneapolis Democrat, who once directed a choir that backed up Prince in several performances. “We realized in Minnesota we didn’t have any responsible protection.”\u003c/p>\n\u003cp>Prince was found dead in his suburban Minneapolis home on April 21, and since then questions have swirled about what will happen to his estate and legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Minnesota, there is common law that seems to recognize that there is a right of publicity that allows people to control their own names and likenesses, according to Joel Leviton, an attorney for Stinson Leonard Street, the law firm representing the special administrator of Prince’s estate. What has never been established in case law is whether it passes to heirs, he said.\u003c/p>\n\u003cp>“Without clear legal protection prohibiting unauthorized commercial uses of Prince’s name and likeness, the asset — that is Prince’s identity itself — begins to diminish in value as others use it for commercial purposes,” Leviton told lawmakers in the House on Tuesday. “There is no way a subsequent court case can fully recover the value for Prince’s heirs. There are just too many people who can sell T-shirts and merchandise with Prince’s image.”\u003c/p>\n\u003cp>Some say the proposed law — which would protect one’s likeness for at least 50 years — is overreaching and could have serious unintended consequences that likely won’t be thoroughly vetted with less than two weeks remaining in Minnesota’s legislative session.\u003c/p>\n\u003cp>William McGeveran, a law professor at the University of Minnesota who specializes in information law, said the bill could raise constitutional questions. He said that unlike trademark law, which generally focuses on whether a consumer believes someone is trying to “pass off” or misrepresent their goods as someone else’s, this measure has blanket protections that could stop people from creating things pertaining to an artist, such as an unauthorized biography, even if it’s clear it’s not associated with the artist’s estate.\u003c/p>\n\u003cp>McGeveran also said lawmakers need to consider why these rights of publicity should be protected after an artist dies.\u003c/p>\n\u003cp>“The purpose of a copyright is to reward and encourage people for making great music, art, writing, things like that,” he said. “What are we trying to encourage by having these celebrity publicity rights? Do we think that people need to have decades of rights after they die or else they won’t plan on becoming famous? Do we think that people becoming celebrities contributes to our culture the way that Prince’s music does?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writer Kyle Potter contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince carefully guarded his public image in life, and now some Minnesota lawmakers are trying to ensure that his estate can continue doing so after his death.\u003c/p>\n\u003cp>A Minnesota House committee on Tuesday began debating a measure that would create a so-called Right of Publicity in the state, which would clarify the rights of artists to control the commercial use of their names, likenesses, images, voices and signatures, and to extend those protections even after they die.\u003c/p>\n\u003cp>Other states have similar laws, but Prince’s death brought the question to Minnesota of how to ensure that an artist’s legacy remains in the hands of his or her estate. That occurred to Sen. Bobby Joe Champion when he dropped in on one of many Prince celebrations and saw people selling T-shirts with Prince’s likeness that he believes were probably unlicensed.\u003c/p>\n\u003cp>“It raised a really important issue to say: ‘Well, hold up. Do we have any protections here in Minnesota around a person still being able to control their likeness and their image even after their death?'” said the Minneapolis Democrat, who once directed a choir that backed up Prince in several performances. “We realized in Minnesota we didn’t have any responsible protection.”\u003c/p>\n\u003cp>Prince was found dead in his suburban Minneapolis home on April 21, and since then questions have swirled about what will happen to his estate and legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Minnesota, there is common law that seems to recognize that there is a right of publicity that allows people to control their own names and likenesses, according to Joel Leviton, an attorney for Stinson Leonard Street, the law firm representing the special administrator of Prince’s estate. What has never been established in case law is whether it passes to heirs, he said.\u003c/p>\n\u003cp>“Without clear legal protection prohibiting unauthorized commercial uses of Prince’s name and likeness, the asset — that is Prince’s identity itself — begins to diminish in value as others use it for commercial purposes,” Leviton told lawmakers in the House on Tuesday. “There is no way a subsequent court case can fully recover the value for Prince’s heirs. There are just too many people who can sell T-shirts and merchandise with Prince’s image.”\u003c/p>\n\u003cp>Some say the proposed law — which would protect one’s likeness for at least 50 years — is overreaching and could have serious unintended consequences that likely won’t be thoroughly vetted with less than two weeks remaining in Minnesota’s legislative session.\u003c/p>\n\u003cp>William McGeveran, a law professor at the University of Minnesota who specializes in information law, said the bill could raise constitutional questions. He said that unlike trademark law, which generally focuses on whether a consumer believes someone is trying to “pass off” or misrepresent their goods as someone else’s, this measure has blanket protections that could stop people from creating things pertaining to an artist, such as an unauthorized biography, even if it’s clear it’s not associated with the artist’s estate.\u003c/p>\n\u003cp>McGeveran also said lawmakers need to consider why these rights of publicity should be protected after an artist dies.\u003c/p>\n\u003cp>“The purpose of a copyright is to reward and encourage people for making great music, art, writing, things like that,” he said. “What are we trying to encourage by having these celebrity publicity rights? Do we think that people need to have decades of rights after they die or else they won’t plan on becoming famous? Do we think that people becoming celebrities contributes to our culture the way that Prince’s music does?”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writer Kyle Potter contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna's 'Anti' Tour in Oakland: Does Lip-Syncing Even Matter Anymore?",
"headTitle": "Rihanna’s ‘Anti’ Tour in Oakland: Does Lip-Syncing Even Matter Anymore? | KQED",
"content": "\u003cp>I’ll never forget the first concert I ever saw at the Oakland Arena: Janet Jackson’s \u003cem>Rhythm Nation\u003c/em> tour, which played for four consecutive nights in Oakland. The year was 1990, it was a family outing, and I, at age 14 and in possession of not one but two Dead Kennedys tapes, had already started to loudly condemn what I viewed as manufactured, pre-packaged pop music. \u003c/p>\n\u003cp>So you’d think I’d have joined those ripping apart the tour’s biggest scandal. Despite its massive critical and commercial success, the ‘Rhythm Nation’ tour was dogged by \u003ca href=\"http://www.nytimes.com/1990/03/17/arts/review-pop-janet-jackson-fleshes-out-her-own-video-image.html\" target=\"_blank\" rel=\"noopener\">accusations of lip-syncing\u003c/a>. Janet Jackson, the critics asserted, couldn’t possibly be dancing so furiously — she was out of breath between each song — and simultaneously singing so perfectly. Milli Vanilli, remember, were in the midst of a similar scandal, and Janet briefly became a punching bag for the music industry’s move, post-\u003cem>Thriller\u003c/em>, toward showmanship over talent.\u003c/p>\n\u003cp>My parents were disappointed about the lip-syncing, but strangely, I wasn’t convinced it was such a betrayal. I still loved the show, and distinctly remember walking through the parking lot to our family station wagon in a daze; to this day I think of it as an induction. Into what, I’m not sure. I already knew that I prized authenticity, like all disillusioned 14-year-olds, but in 1990, for perhaps the first time, I found that I didn’t mind a little inauthenticity too.\u003c/p>\n\u003cfigure id=\"attachment_11566656\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_.jpg\" alt=\"Rihanna at the Oracle Arena, May 7, 2016.\" width=\"800\" height=\"600\" class=\"size-full wp-image-11566656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings me to Rihanna and her \u003cem>Anti\u003c/em> tour, which came to the Oakland Arena last Saturday — almost 26 years to the day after Janet Jackson sold out four nights at the same venue. Rihanna’s tour has been criticized for \u003ca href=\"http://www.sfgate.com/music/article/Rihanna-strips-down-in-San-Jose-but-it-s-not-7420239.php\" target=\"_blank\" rel=\"noopener\">being “cold,”\u003c/a> which misses the allure of her brand of cool detachment, and for being derivative, wardrobe-wise, of Kanye’s Yeezy Season 3 line (which, yeah, still looks like burlap sacks). But add to the pile: Rihanna isn’t exactly singing through the entire show.\u003c/p>\n\u003cp>A lot has happened in the past 26 years, not the least of which is the public’s growing acceptance for lip-syncing. Put 30,000 fans in a stadium these days, and they won’t bat an eye that the star on stage might be using a backing track. When Rihanna blatantly lip-synced approximately one-eighth of “We Found Love” on Saturday night, and spent the other 87 percent of the song meandering around the microphone or simply standing there and letting her pre-recorded vocals play, did anyone run to the box office outside to demand their money back? In 2016? Of course not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of that was due to the spectacle of the show, as crazed as it was. At one point, giant alien whales inflated and then deflated for no apparent reason while two men in bronze-sequined kitten costumes prowled around the stage. Still another set change involved a giant malfunctioning washing machine spewing soapy foam down a panel of plastic sheeting hung from the ceiling. Twenty years from now, I thought to myself, this tour will either be hailed as ahead of its time, or a ridiculous time capsule of the mid-2010s. \u003c/p>\n\u003cp>https://www.instagram.com/p/BFN6WlkySWC/\u003c/p>\n\u003cp>Another more important part of it was due to Rihanna’s earthy, inescapably real vocals on songs like “Diamonds”; the retro-soul burner “Love on the Brain” (above); or show opener “Stay,” dramatically sung alone atop a large platform near the back of the arena. When she chose to sing, Rihanna and her power of interpretation appeared capable of tingling even the most stubborn spine.\u003c/p>\n\u003cp>But if we’re really being honest, audiences have been accepting and even demanding of inauthentic performances for decades. After Coleman Hawkins’ \u003ca href=\"https://www.youtube.com/watch?v=zUFg6HvljDE\" target=\"_blank\" rel=\"noopener\">1939 recording of “Body & Soul”\u003c/a> became a worldwide hit, the saxophonist, famed for his improvised solo, was constantly asked to recreate the same exact solo night after night. (He famously declined.) The same was true for others like Louis Armstrong, whose flights of fancy on the 1928 recording of “West End Blues” became expected in cubs and theaters, authentic jazz improvisation be damned. \u003c/p>\n\u003cfigure id=\"attachment_11566657\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-1180x1180.jpg\" alt=\"Rihanna at the Oracle Arena in Oakland, May 7, 2016.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11566657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena in Oakland, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How many times have you heard someone complain, “I went to see so-and-so, and it was okay, but he changed all the songs around and they didn’t sound like they do on the record!” We crave constancy; we would be confused if we went to an author appearance and instead of reading from their latest book, they stood at the microphone and orally composed a new novel. So many hip-hop artists rap over backing tracks because in a loud, bass-heavy live setting, they’d be forced to yell to be heard, missing the nuance in their recordings that constitutes their style. EDM acts may be simply standing at a table and mimicking the technical moves of DJing in real time, but that hasn’t stopped them from selling out huge halls, or kept packed Las Vegas nightclubs from paying them \u003ca href=\"http://gawker.com/the-10-most-depressing-parts-of-the-new-yorkers-e-d-m-1379714380\" target=\"_blank\" rel=\"noopener\">obscene amounts of money\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these things went through my head as Rihanna sang roughly half of the vocals on “Consideration,” the lead-off track on \u003cem>Anti\u003c/em>, or when I found myself scrutinizing her vocals on “Desperado,” “Same Old Mistakes” and “Kiss it Better.” If there’s an album this year that’s more slow-burning, I haven’t found it. And in a way, \u003cem>Anti\u003c/em> mirrors the public’s own slowly-changing perception, since Janet Jackson’s \u003cem>Rhythm Nation\u003c/em> tour, of lip-syncing. It feels like treason on first listen, and slowly becomes more and more acceptable, then deeply rewarding, and then revelatory — like a dazzling way of obscuring the truth. \u003c/p>\n\u003cfigure id=\"attachment_11566655\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_.jpg\" alt=\"Rihanna at the Oracle Arena, May 7, 2016.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11566655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ll never forget the first concert I ever saw at the Oakland Arena: Janet Jackson’s \u003cem>Rhythm Nation\u003c/em> tour, which played for four consecutive nights in Oakland. The year was 1990, it was a family outing, and I, at age 14 and in possession of not one but two Dead Kennedys tapes, had already started to loudly condemn what I viewed as manufactured, pre-packaged pop music. \u003c/p>\n\u003cp>So you’d think I’d have joined those ripping apart the tour’s biggest scandal. Despite its massive critical and commercial success, the ‘Rhythm Nation’ tour was dogged by \u003ca href=\"http://www.nytimes.com/1990/03/17/arts/review-pop-janet-jackson-fleshes-out-her-own-video-image.html\" target=\"_blank\" rel=\"noopener\">accusations of lip-syncing\u003c/a>. Janet Jackson, the critics asserted, couldn’t possibly be dancing so furiously — she was out of breath between each song — and simultaneously singing so perfectly. Milli Vanilli, remember, were in the midst of a similar scandal, and Janet briefly became a punching bag for the music industry’s move, post-\u003cem>Thriller\u003c/em>, toward showmanship over talent.\u003c/p>\n\u003cp>My parents were disappointed about the lip-syncing, but strangely, I wasn’t convinced it was such a betrayal. I still loved the show, and distinctly remember walking through the parking lot to our family station wagon in a daze; to this day I think of it as an induction. Into what, I’m not sure. I already knew that I prized authenticity, like all disillusioned 14-year-olds, but in 1990, for perhaps the first time, I found that I didn’t mind a little inauthenticity too.\u003c/p>\n\u003cfigure id=\"attachment_11566656\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_.jpg\" alt=\"Rihanna at the Oracle Arena, May 7, 2016.\" width=\"800\" height=\"600\" class=\"size-full wp-image-11566656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Stay_-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which brings me to Rihanna and her \u003cem>Anti\u003c/em> tour, which came to the Oakland Arena last Saturday — almost 26 years to the day after Janet Jackson sold out four nights at the same venue. Rihanna’s tour has been criticized for \u003ca href=\"http://www.sfgate.com/music/article/Rihanna-strips-down-in-San-Jose-but-it-s-not-7420239.php\" target=\"_blank\" rel=\"noopener\">being “cold,”\u003c/a> which misses the allure of her brand of cool detachment, and for being derivative, wardrobe-wise, of Kanye’s Yeezy Season 3 line (which, yeah, still looks like burlap sacks). But add to the pile: Rihanna isn’t exactly singing through the entire show.\u003c/p>\n\u003cp>A lot has happened in the past 26 years, not the least of which is the public’s growing acceptance for lip-syncing. Put 30,000 fans in a stadium these days, and they won’t bat an eye that the star on stage might be using a backing track. When Rihanna blatantly lip-synced approximately one-eighth of “We Found Love” on Saturday night, and spent the other 87 percent of the song meandering around the microphone or simply standing there and letting her pre-recorded vocals play, did anyone run to the box office outside to demand their money back? In 2016? Of course not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Part of that was due to the spectacle of the show, as crazed as it was. At one point, giant alien whales inflated and then deflated for no apparent reason while two men in bronze-sequined kitten costumes prowled around the stage. Still another set change involved a giant malfunctioning washing machine spewing soapy foam down a panel of plastic sheeting hung from the ceiling. Twenty years from now, I thought to myself, this tour will either be hailed as ahead of its time, or a ridiculous time capsule of the mid-2010s. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another more important part of it was due to Rihanna’s earthy, inescapably real vocals on songs like “Diamonds”; the retro-soul burner “Love on the Brain” (above); or show opener “Stay,” dramatically sung alone atop a large platform near the back of the arena. When she chose to sing, Rihanna and her power of interpretation appeared capable of tingling even the most stubborn spine.\u003c/p>\n\u003cp>But if we’re really being honest, audiences have been accepting and even demanding of inauthentic performances for decades. After Coleman Hawkins’ \u003ca href=\"https://www.youtube.com/watch?v=zUFg6HvljDE\" target=\"_blank\" rel=\"noopener\">1939 recording of “Body & Soul”\u003c/a> became a worldwide hit, the saxophonist, famed for his improvised solo, was constantly asked to recreate the same exact solo night after night. (He famously declined.) The same was true for others like Louis Armstrong, whose flights of fancy on the 1928 recording of “West End Blues” became expected in cubs and theaters, authentic jazz improvisation be damned. \u003c/p>\n\u003cfigure id=\"attachment_11566657\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-1180x1180.jpg\" alt=\"Rihanna at the Oracle Arena in Oakland, May 7, 2016.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11566657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Foam_-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena in Oakland, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How many times have you heard someone complain, “I went to see so-and-so, and it was okay, but he changed all the songs around and they didn’t sound like they do on the record!” We crave constancy; we would be confused if we went to an author appearance and instead of reading from their latest book, they stood at the microphone and orally composed a new novel. So many hip-hop artists rap over backing tracks because in a loud, bass-heavy live setting, they’d be forced to yell to be heard, missing the nuance in their recordings that constitutes their style. EDM acts may be simply standing at a table and mimicking the technical moves of DJing in real time, but that hasn’t stopped them from selling out huge halls, or kept packed Las Vegas nightclubs from paying them \u003ca href=\"http://gawker.com/the-10-most-depressing-parts-of-the-new-yorkers-e-d-m-1379714380\" target=\"_blank\" rel=\"noopener\">obscene amounts of money\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All these things went through my head as Rihanna sang roughly half of the vocals on “Consideration,” the lead-off track on \u003cem>Anti\u003c/em>, or when I found myself scrutinizing her vocals on “Desperado,” “Same Old Mistakes” and “Kiss it Better.” If there’s an album this year that’s more slow-burning, I haven’t found it. And in a way, \u003cem>Anti\u003c/em> mirrors the public’s own slowly-changing perception, since Janet Jackson’s \u003cem>Rhythm Nation\u003c/em> tour, of lip-syncing. It feels like treason on first listen, and slowly becomes more and more acceptable, then deeply rewarding, and then revelatory — like a dazzling way of obscuring the truth. \u003c/p>\n\u003cfigure id=\"attachment_11566655\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_.jpg\" alt=\"Rihanna at the Oracle Arena, May 7, 2016.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11566655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Rihanna.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna at the Oracle Arena, May 7, 2016. \u003ccite>(Photo: Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Are you one of the thousands of people currently obsessed with \u003cem>Hamilton\u003c/em>? Perhaps you're counting the days until the Broadway musical actually \u003ca href=\"http://ww2.kqed.org/arts/2016/01/26/broadway-hit-musical-hamilton-to-have-limited-sf-run/\" target=\"_blank\">arrives in the Bay Area next March\u003c/a>?\u003c/p>\n\u003cp>Well, here's a head-spinning tidbit to tide you over. Oakland-born, Grammy Award-winning actor and rapper Daveed Diggs, who plays both Marquis de Lafayette and Thomas Jefferson in the hit show, appeared on \u003cem>The Tonight Show \u003c/em>May 9 to chat with Jimmy Fallon.\u003c/p>\n\u003cp>Fans who follow Diggs, whether in the context of \u003cem>Hamilton \u003c/em>or his LA-based \u003ca href=\"https://clppng.bandcamp.com/\" target=\"_blank\">hip-hop group clipping.\u003c/a>, should not be surprised by the supersonic speed of the rapper's flow in the clip below. (He apparently thinks the rapping he does in his Broadway performances is of a \"medium-fast\" variety.) But that doesn't make it any less fascinating to behold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FTNBdgv6VBs\u003c/p>\n\u003cp>And in case there was any concern that Diggs' superstardom might make him forget his roots: On May 3, when Diggs\u003ca href=\"http://www.gq.com/story/daveed-diggs-tony-nomination-surprise\" target=\"_blank\"> learned he'd been nominated for a Tony Award\u003c/a> for his performance in \u003cem>Hamilton\u003c/em>, he \u003ca href=\"https://twitter.com/DaveedDiggs/status/727628007750406144\">tweeted a clip from the thoroughly Oakland-centric music video\u003c/a> for his track \"Fresh From the Hood,\" off his 2012 record\u003cem> Small Things to a Giant. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featured in said clip: the lyric about making \"music for this Tony I'm pursuing.\"\u003c/p>\n\u003cp>The Tony Awards take place June 12.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_hqxEOSjqRM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you one of the thousands of people currently obsessed with \u003cem>Hamilton\u003c/em>? Perhaps you're counting the days until the Broadway musical actually \u003ca href=\"http://ww2.kqed.org/arts/2016/01/26/broadway-hit-musical-hamilton-to-have-limited-sf-run/\" target=\"_blank\">arrives in the Bay Area next March\u003c/a>?\u003c/p>\n\u003cp>Well, here's a head-spinning tidbit to tide you over. Oakland-born, Grammy Award-winning actor and rapper Daveed Diggs, who plays both Marquis de Lafayette and Thomas Jefferson in the hit show, appeared on \u003cem>The Tonight Show \u003c/em>May 9 to chat with Jimmy Fallon.\u003c/p>\n\u003cp>Fans who follow Diggs, whether in the context of \u003cem>Hamilton \u003c/em>or his LA-based \u003ca href=\"https://clppng.bandcamp.com/\" target=\"_blank\">hip-hop group clipping.\u003c/a>, should not be surprised by the supersonic speed of the rapper's flow in the clip below. (He apparently thinks the rapping he does in his Broadway performances is of a \"medium-fast\" variety.) But that doesn't make it any less fascinating to behold.\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/FTNBdgv6VBs'\n title='//www.youtube.com/embed/FTNBdgv6VBs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And in case there was any concern that Diggs' superstardom might make him forget his roots: On May 3, when Diggs\u003ca href=\"http://www.gq.com/story/daveed-diggs-tony-nomination-surprise\" target=\"_blank\"> learned he'd been nominated for a Tony Award\u003c/a> for his performance in \u003cem>Hamilton\u003c/em>, he \u003ca href=\"https://twitter.com/DaveedDiggs/status/727628007750406144\">tweeted a clip from the thoroughly Oakland-centric music video\u003c/a> for his track \"Fresh From the Hood,\" off his 2012 record\u003cem> Small Things to a Giant. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Live Review: Psych-Rock Stalwarts Dungen Roar Through the Redwoods",
"headTitle": "Live Review: Psych-Rock Stalwarts Dungen Roar Through the Redwoods | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>See full photo slideshow at bottom of post.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Sometimes, certain settings pair so well with specific kinds of music that it’s hard to imagine one without the other. In particular, the Bay Area’s boundless natural beauty, and the outdoor venues hidden within, pair perfectly with the enveloping melodic haze of psychedelic rock. \u003c/p>\n\u003cp>In fact, the two have a long history together, especially in the North Bay: The \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">Fantasy Fair and Magic Mountain Music Festival\u003c/a>, purportedly the first American outdoor rock festival, took place in an amphitheater on Mt. Tamalpais and featured the Doors, Captain Beefheart, and many more. Near Muir Woods, the notoriously hidden artists’ collective \u003ca href=\"http://kalw.org/post/inside-druid-heights-marin-county-counter-culture-landmark#stream/0\" target=\"_blank\" rel=\"noopener\">Druid Heights\u003c/a> (which may \u003ca href=\"http://www.nytimes.com/2012/01/26/us/historic-status-weighed-for-druid-heights-a-countercultural-oasis.html?_r=0\" target=\"_blank\" rel=\"noopener\">soon become\u003c/a> a nationally recognized Historic Place) was the site of legendary weekend-long fêtes and jam sessions with psychedelic rock musicians from the Bay and beyond.\u003c/p>\n\u003cfigure id=\"attachment_11565511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-800x533.jpg\" alt=\"The crowd on May 7, 2016, at Dungen's show in the redwoods.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd on May 7, 2016, at Dungen’s show in the redwoods. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the afternoon of Saturday, May 7, the contemporary psychedelic Swedish band Dungen visited an impossibly beautiful property tucked away in Nicasio and made their own little piece of history. The gig was announced quietly via Facebook, and spread quickly by digital word-of-mouth — it seemed, at first, too good to be true. But when I arrived at the sprawling private property, shrouded amongst the redwoods off Nicasio Valley Road, I quickly realized every expectation I had would soon be exceeded.\u003c/p>\n\u003cp>After following the sound of music down a short wooded path, I found myself upon a small stage topped by a gazebo, with a colorful, seated crowd listening to the folksy sounds of opener Sophia Knapp. The audience was delightfully rag-tag: denim-clad rocker types sat next to older Marin folks sharing blankets with thirty-something families, young children in tow. While Knapp and her talented band rang out easy-going bluesy numbers, I explored the forested grounds, stumbling upon numerous hand-crafted wooden structures, each filled with a variety of knick-knacks and ephemera. Evergreen, and with something new to catch the eye in every corner, the site seemed plucked from a children’s storybook.\u003c/p>\n\u003cfigure id=\"attachment_11565443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-800x533.jpg\" alt=\"A boy on May 7, 2016, at Dungen's show in the redwoods.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy on May 7, 2016, at Dungen’s show in the redwoods. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knapp wrapped up, and by 4:15pm, Dungen cut loose with their first song, “Sätt Att Se,” the lead single from their sixth album (confusingly titled \u003cem>4\u003c/em>). As plaintive as it is ecstatic, “Sätt Att Se” perfectly captures Dungen’s ethos — it owes as much to the Beatles as it does to Black Sabbath. As soon as Dungen began, the crowd sat up and huddled the stage, eager to catch their fill of the music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was obvious, from minute one, that what we were experiencing was not an ordinary concert. Those at the front of the crowd were standing directly before the band — separation between artist and audience was nonexistent. Bandleader Gustav Ejstes (who, on record, writes and performs nearly all Dungen’s music himself) bantered frequently with his band (guitarist Reine Fiske, bassist Mattias Gustavsson, and drummer Johan Holmegard) and just as frequently with the audience; after about an hour, he remarked that they were playing their “ultimate set, in the woods. What songs do we even play? Who knows!”\u003c/p>\n\u003cfigure id=\"attachment_11565441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-800x533.jpg\" alt=\"Dungen playing in the redwoods outside of Nicasio on May 7, 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dungen playing in the redwoods outside of Nicasio on May 7, 2016. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band were clearly overwhelmed by the beauty surrounding them. A short break later, the crowd danced and sang along in a second set to favorites like “Festival” and “Ta Det Lugnt,” rarely performed live. Nearly two and a half hours later, they finished with the epic “Sova,” a soaring, ten-minute journey in multiple parts.\u003c/p>\n\u003cp>Afterwards, as the crowd slowly dispersed, everyone seemed in awe of what they had witnessed. It was one of those “only in the Bay Area” kind of moments. We found ourselves wondering if (or when) something like this would happen again. With any luck, this occasion marked the first of many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"large\" link=\"none\" ids=\"11565554,11565442,11565562,11565561,11565567,11565569,11565558,11565552,11565565,11565559,11565573,11565560,11565563,11565568,11565574,11565570,11565564,11565555,11565566,11565572,11565443,11565551,11565511,11565441\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>See full photo slideshow at bottom of post.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Sometimes, certain settings pair so well with specific kinds of music that it’s hard to imagine one without the other. In particular, the Bay Area’s boundless natural beauty, and the outdoor venues hidden within, pair perfectly with the enveloping melodic haze of psychedelic rock. \u003c/p>\n\u003cp>In fact, the two have a long history together, especially in the North Bay: The \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">Fantasy Fair and Magic Mountain Music Festival\u003c/a>, purportedly the first American outdoor rock festival, took place in an amphitheater on Mt. Tamalpais and featured the Doors, Captain Beefheart, and many more. Near Muir Woods, the notoriously hidden artists’ collective \u003ca href=\"http://kalw.org/post/inside-druid-heights-marin-county-counter-culture-landmark#stream/0\" target=\"_blank\" rel=\"noopener\">Druid Heights\u003c/a> (which may \u003ca href=\"http://www.nytimes.com/2012/01/26/us/historic-status-weighed-for-druid-heights-a-countercultural-oasis.html?_r=0\" target=\"_blank\" rel=\"noopener\">soon become\u003c/a> a nationally recognized Historic Place) was the site of legendary weekend-long fêtes and jam sessions with psychedelic rock musicians from the Bay and beyond.\u003c/p>\n\u003cfigure id=\"attachment_11565511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-800x533.jpg\" alt=\"The crowd on May 7, 2016, at Dungen's show in the redwoods.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-crowd-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd on May 7, 2016, at Dungen’s show in the redwoods. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the afternoon of Saturday, May 7, the contemporary psychedelic Swedish band Dungen visited an impossibly beautiful property tucked away in Nicasio and made their own little piece of history. The gig was announced quietly via Facebook, and spread quickly by digital word-of-mouth — it seemed, at first, too good to be true. But when I arrived at the sprawling private property, shrouded amongst the redwoods off Nicasio Valley Road, I quickly realized every expectation I had would soon be exceeded.\u003c/p>\n\u003cp>After following the sound of music down a short wooded path, I found myself upon a small stage topped by a gazebo, with a colorful, seated crowd listening to the folksy sounds of opener Sophia Knapp. The audience was delightfully rag-tag: denim-clad rocker types sat next to older Marin folks sharing blankets with thirty-something families, young children in tow. While Knapp and her talented band rang out easy-going bluesy numbers, I explored the forested grounds, stumbling upon numerous hand-crafted wooden structures, each filled with a variety of knick-knacks and ephemera. Evergreen, and with something new to catch the eye in every corner, the site seemed plucked from a children’s storybook.\u003c/p>\n\u003cfigure id=\"attachment_11565443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-800x533.jpg\" alt=\"A boy on May 7, 2016, at Dungen's show in the redwoods.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-boy-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy on May 7, 2016, at Dungen’s show in the redwoods. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knapp wrapped up, and by 4:15pm, Dungen cut loose with their first song, “Sätt Att Se,” the lead single from their sixth album (confusingly titled \u003cem>4\u003c/em>). As plaintive as it is ecstatic, “Sätt Att Se” perfectly captures Dungen’s ethos — it owes as much to the Beatles as it does to Black Sabbath. As soon as Dungen began, the crowd sat up and huddled the stage, eager to catch their fill of the music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was obvious, from minute one, that what we were experiencing was not an ordinary concert. Those at the front of the crowd were standing directly before the band — separation between artist and audience was nonexistent. Bandleader Gustav Ejstes (who, on record, writes and performs nearly all Dungen’s music himself) bantered frequently with his band (guitarist Reine Fiske, bassist Mattias Gustavsson, and drummer Johan Holmegard) and just as frequently with the audience; after about an hour, he remarked that they were playing their “ultimate set, in the woods. What songs do we even play? Who knows!”\u003c/p>\n\u003cfigure id=\"attachment_11565441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-800x533.jpg\" alt=\"Dungen playing in the redwoods outside of Nicasio on May 7, 2016.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/dungen_nicasio-band-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dungen playing in the redwoods outside of Nicasio on May 7, 2016. \u003ccite>(Photo: Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band were clearly overwhelmed by the beauty surrounding them. A short break later, the crowd danced and sang along in a second set to favorites like “Festival” and “Ta Det Lugnt,” rarely performed live. Nearly two and a half hours later, they finished with the epic “Sova,” a soaring, ten-minute journey in multiple parts.\u003c/p>\n\u003cp>Afterwards, as the crowd slowly dispersed, everyone seemed in awe of what they had witnessed. It was one of those “only in the Bay Area” kind of moments. We found ourselves wondering if (or when) something like this would happen again. With any luck, this occasion marked the first of many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Jazz From a Cuban Pianist and a Former Kronos Quartet Cellist",
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"content": "\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BKxsv9bxok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\u003c/p>\n\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/_BKxsv9bxok'\n title='//www.youtube.com/embed/_BKxsv9bxok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>[contextly_sidebar id=”JXif7xzYuundo9FGKXLa00Lky77c6xLJ”]\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"https://twitter.com/CarlaKJohnson\" target=\"_blank\">Carla K. Johnson\u003c/a>\u003cbr />Associated Press Medical Writer\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The World According to Sound: Pianist Keith Jarrett's Involuntary Vocalizations",
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"content": "\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/262879591\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\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/262879591&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/262879591'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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