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"disqusTitle": "Victoria Beckham's Scrapped Hip-Hop Album Leaks as Karma for Dissing the Spice Girls",
"title": "Victoria Beckham's Scrapped Hip-Hop Album Leaks as Karma for Dissing the Spice Girls",
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"content": "\u003cp>Now that Victoria Beckham is a fashion powerhouse, she wishes you would forget that she was ever known for anything else. Every so often, she refuses to do a reunion tour (but \u003ca href=\"https://en.wikipedia.org/wiki/The_Return_of_the_Spice_Girls\">ends up doing it\u003c/a>), refuses to perform at the London Olympics closing ceremony (but \u003ca href=\"https://www.youtube.com/watch?v=PArTdhNda7k\">ends up doing it\u003c/a>), or refuses to appear on the red carpet next to the other Spice Girls at the opening of their own musical (she \u003ca href=\"http://www.usmagazine.com/celebrity-news/news/spice-girls-were-disappointed-victoria-beckham-didnt-join-them-at-viva-forever-premiere-says-melanie-chisholm-2013164\">\u003cstrong>did not\u003c/strong> end up doing it\u003c/a>).\u003c/p>\n\u003cp>As recently as earlier this month, she \u003ca href=\"http://www.mirror.co.uk/3am/celebrity-news/victoria-beckham-admits-mic-turned-7908127\">bitterly reminisced\u003c/a> about her time in the biggest girl group in all of herstory:\u003c/p>\n\u003cblockquote>\u003cp>“They used to turn [my mic] off and just let the others sing. I got the last laugh - and now my mic is well and truly on, finally.”\u003c/p>\u003c/blockquote>\n\u003cp>Um, Vic, this isn't an exclusive. We all knew your mic was not on and were ok with that. Having Geri's turned on was bad enough. Also, maybe be thankful they cut you a check, despite your lack of contribution?\u003c/p>\n\u003cp>Anyway, that's not all Beckham had to share:\u003c/p>\n\u003cblockquote>\u003cp>\"I was always the one that loved fashion and it was quite a result for me because the girls always used to get their clothes for free because they were crap and so there was a lot of budget for me to have my little Gucci dress.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/giphy-14.gif\">\u003cimg class=\"aligncenter size-full wp-image-25267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/giphy-14.gif\" alt=\"shade of it all latrice gif\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emma's baby doll dresses and platforms, Melanie B's cheetah print numbers, Melanie C's full-body Adidas looks, and Geri's Union Jack dress are iconic. How dare you?\u003c/p>\n\u003cp>VB, you finished with sh*tting all over my childhood? No? Oh, okay:\u003c/p>\n\u003cblockquote>\u003cp>“When all the other girls were being fun and spontaneous and jumping on tables, I was always the one checking the table wasn’t going to collapse. I was always the sensible one.\"\u003c/p>\u003c/blockquote>\n\u003cp>Ok, we get it! You're so above the band that made you famous, the band without which you would have never met your footballer husband, the band without which...well, everything else about your current privileged life. But I digress.\u003c/p>\n\u003cp>Point is: Victoria hates that she tried to convince us she was an acceptable-enough singer for so many years, so she's probably pretty pissed that \u003ci>Come Together, \u003c/i>a scrapped hip-hop album she worked on with Damon Dash way back in the early aughts, is coming to light and making waves on the internet today. Let's consider this karmic retribution for biting the hand that has fed for the past two decades:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FzST0neMmqQ\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A40j6uKPYjc\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gthZVyQuHtg\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vzv6jTZrk8o\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hs-cJ-vve8A\u003c/p>\n\u003cp>Dear other bloggers covering this, \"Let Your Head Go\" is not new.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p4XYmF4oy3U\u003c/p>\n\u003cp>How could you forget the music video, which channels \u003ca href=\"http://ww2.kqed.org/pop/2016/05/19/bette-davis-vs-joan-crawford-the-shadiest-hollywood-feud-of-all-time/\">Joan Crawford\u003c/a>'s iconic wire hanger meltdown? Research, people!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EZQlBg_4T-k\u003c/p>\n\u003cp>And before any fellow Spice Girls fans call me a traitor, know that I love the group more than almost all of my cousins, aunts and uncles. We're hardest on the ones we love most.\u003c/p>\n\u003cp>P.S. Weak voice be damned, this will forever be a bop:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qf87MJcWZQI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that Victoria Beckham is a fashion powerhouse, she wishes you would forget that she was ever known for anything else. Every so often, she refuses to do a reunion tour (but \u003ca href=\"https://en.wikipedia.org/wiki/The_Return_of_the_Spice_Girls\">ends up doing it\u003c/a>), refuses to perform at the London Olympics closing ceremony (but \u003ca href=\"https://www.youtube.com/watch?v=PArTdhNda7k\">ends up doing it\u003c/a>), or refuses to appear on the red carpet next to the other Spice Girls at the opening of their own musical (she \u003ca href=\"http://www.usmagazine.com/celebrity-news/news/spice-girls-were-disappointed-victoria-beckham-didnt-join-them-at-viva-forever-premiere-says-melanie-chisholm-2013164\">\u003cstrong>did not\u003c/strong> end up doing it\u003c/a>).\u003c/p>\n\u003cp>As recently as earlier this month, she \u003ca href=\"http://www.mirror.co.uk/3am/celebrity-news/victoria-beckham-admits-mic-turned-7908127\">bitterly reminisced\u003c/a> about her time in the biggest girl group in all of herstory:\u003c/p>\n\u003cblockquote>\u003cp>“They used to turn [my mic] off and just let the others sing. I got the last laugh - and now my mic is well and truly on, finally.”\u003c/p>\u003c/blockquote>\n\u003cp>Um, Vic, this isn't an exclusive. We all knew your mic was not on and were ok with that. Having Geri's turned on was bad enough. Also, maybe be thankful they cut you a check, despite your lack of contribution?\u003c/p>\n\u003cp>Anyway, that's not all Beckham had to share:\u003c/p>\n\u003cblockquote>\u003cp>\"I was always the one that loved fashion and it was quite a result for me because the girls always used to get their clothes for free because they were crap and so there was a lot of budget for me to have my little Gucci dress.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/giphy-14.gif\">\u003cimg class=\"aligncenter size-full wp-image-25267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/giphy-14.gif\" alt=\"shade of it all latrice gif\" width=\"400\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emma's baby doll dresses and platforms, Melanie B's cheetah print numbers, Melanie C's full-body Adidas looks, and Geri's Union Jack dress are iconic. How dare you?\u003c/p>\n\u003cp>VB, you finished with sh*tting all over my childhood? No? Oh, okay:\u003c/p>\n\u003cblockquote>\u003cp>“When all the other girls were being fun and spontaneous and jumping on tables, I was always the one checking the table wasn’t going to collapse. I was always the sensible one.\"\u003c/p>\u003c/blockquote>\n\u003cp>Ok, we get it! You're so above the band that made you famous, the band without which you would have never met your footballer husband, the band without which...well, everything else about your current privileged life. But I digress.\u003c/p>\n\u003cp>Point is: Victoria hates that she tried to convince us she was an acceptable-enough singer for so many years, so she's probably pretty pissed that \u003ci>Come Together, \u003c/i>a scrapped hip-hop album she worked on with Damon Dash way back in the early aughts, is coming to light and making waves on the internet today. Let's consider this karmic retribution for biting the hand that has fed for the past two decades:\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/FzST0neMmqQ'\n title='//www.youtube.com/embed/FzST0neMmqQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=A40j6uKPYjc\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/gthZVyQuHtg'\n title='//www.youtube.com/embed/gthZVyQuHtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=vzv6jTZrk8o\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/hs-cJ-vve8A'\n title='//www.youtube.com/embed/hs-cJ-vve8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dear other bloggers covering this, \"Let Your Head Go\" is not new.\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/p4XYmF4oy3U'\n title='//www.youtube.com/embed/p4XYmF4oy3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How could you forget the music video, which channels \u003ca href=\"http://ww2.kqed.org/pop/2016/05/19/bette-davis-vs-joan-crawford-the-shadiest-hollywood-feud-of-all-time/\">Joan Crawford\u003c/a>'s iconic wire hanger meltdown? Research, people!\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/EZQlBg_4T-k'\n title='//www.youtube.com/embed/EZQlBg_4T-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And before any fellow Spice Girls fans call me a traitor, know that I love the group more than almost all of my cousins, aunts and uncles. We're hardest on the ones we love most.\u003c/p>\n\u003cp>P.S. Weak voice be damned, this will forever be a bop:\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/Qf87MJcWZQI'\n title='//www.youtube.com/embed/Qf87MJcWZQI'\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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"title": "Ray of Light's 'The Wild Party' is a Wild Party",
"headTitle": "Ray of Light’s ‘The Wild Party’ is a Wild Party | KQED",
"content": "\u003cp>The 20th century American poet and essayist Joseph Moncure Marsh’s \u003cem>The Wild Party\u003c/em> is a singular piece of American poetry. Capturing the seamy-steamy atmosphere of a Prohibition-era blow out, it is lurid, epic, and written in a jazzy doggerel verse. March doesn’t even try to lay claim to a modernism that he was so clearly racing ahead of. Eliot, Pound, Crane, and Stevens might have filched bits of pop culture to give their poems a little shock of the real, but March’s masterpiece was the authentic thing — slimy, violent, alive, and cheap in its intentions and effects.\u003c/p>\n\u003cp>Translating trashy art from one form to another is tricky business, and the American musical’s roots have tended towards \u003cem>Sound of Music\u003c/em> wholesomeness, rather than March’s violent vision of love. But composer/lyricist/book writer Andrew Lippa’s musical version of March’s classic — also entitled \u003cem>The Wild Party —\u003c/em> catches it all and plays a few tricks of its own along the way. It’s as nutty and chancy as the poem, and in some ways more expansive, loose, and American in feel.\u003c/p>\n\u003cfigure id=\"attachment_11613416\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613416 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg\" alt=\"wildpartyproduction5\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burrs (Paul Grant Hovannes) brews in Ray of Lights’ ‘The Wild Party.’ (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>March found something mythic in the love story between showgirl Queenie and her clown of a boyfriend, Burrs, who actually is a clown. The role is played by a commanding Paul Grant Hovannes in \u003ca href=\"http://rayoflighttheatre.com/wild-party/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>‘s production. You can feel the killer and the comic in Burr’s name, especially in the the way it slides off the tongue when Queenie (a fine Jocelyn Pickett) sings his name throughout the show. Every time you hear Burrs’ name, it jolts; those\u003cem> rrrrrr’s\u003c/em> smear contempt.\u003c/p>\n\u003cp>What we’re here for, though, is a party — the cure Queenie and Burrs seek for their failing relationship. And Lippa is an obliging host, delivering the goods with the slick verve of the slimiest paparazzi. Everything is frenzied, and yet each moment is vivid, distinct, and alive. The score, a mélange of jazz, blues, show tunes, rock, pop ballads, anything that gets Lippa to the brutal core of Queenie and Burrs’ desperate love, is loose yet elaborately structured.\u003c/p>\n\u003cfigure id=\"attachment_11613415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11613415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg\" alt=\"Ramond Thomas as Black sings of his despair for Queenie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramond Thomas as Black sings of his despair for Queenie. (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>And so Lippa can blindside you with real feeling, as if sleaze and an anything goes attitude were the fastest way to our hearts. When the mysterious Black (a sharp and understated Ramond Thomas) sings of his attraction to and despair for Queenie in his beautiful ballad, “Poor Child,” the broad, archetypal outlines of the characters turn shocking and real. The same is true when Queenie sings of Burrs’ violence, “Maybe I Like It This Way,” or Burrs’ scream of “\u003cem>Nooooooooooooooooo!\u003c/em>” at the end of the tiki lounge-inspired, “What Is It About Her.” These are real people, not jokes, and so we can suffer with them. And Party. And ruin our lives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Marsh’s doggerel verse, Lippa’s \u003cem>Wild Party\u003c/em> is highly structured and always on the verge of spinning out of control. And the same compliment should be extended to Ray of Light’s vibrant, propulsive production. It’s not perfect and sometimes the acting and staging falters. But in their desire to get at the burning soul of real people, of real feeling, and of why self-destruction is sometimes preferable to just going on, the cast and crew give us a wild party that March would recognize — trashy, alive, and game to risk everything.\u003c/p>\n\u003cfigure id=\"attachment_11613418\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613418 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg\" alt=\"WildParty_6\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Burrs (Paul Grant Hovannes), Queenie (Jocelyn Pickett), and Black (Ramond Thomas) are ready to go wild in Ray of Light’s ‘The Wild Party.’ (Photo: Erik Scanlon)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Wild Party\u003c/em> plays at the Victoria Theater in San Francisco through Saturday, Jun. 11. \u003c/strong>\u003cstrong>For tickets and information head \u003ca href=\"http://www.rayoflighttheatre.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Also, San Jose Stage opens its own production of \u003cem>The Wild Party\u003c/em> on Wednesday, Jun. 1. The show runs through Sunday, Jul. 28. Find out more about this South Bay production \u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"excerpt": "Joseph Moncure Marsh's epic 1928 poem, turned into a musical by Andrew Lippa, captures the seamy-steamy atmosphere of a Prohibition-era shindig",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 20th century American poet and essayist Joseph Moncure Marsh’s \u003cem>The Wild Party\u003c/em> is a singular piece of American poetry. Capturing the seamy-steamy atmosphere of a Prohibition-era blow out, it is lurid, epic, and written in a jazzy doggerel verse. March doesn’t even try to lay claim to a modernism that he was so clearly racing ahead of. Eliot, Pound, Crane, and Stevens might have filched bits of pop culture to give their poems a little shock of the real, but March’s masterpiece was the authentic thing — slimy, violent, alive, and cheap in its intentions and effects.\u003c/p>\n\u003cp>Translating trashy art from one form to another is tricky business, and the American musical’s roots have tended towards \u003cem>Sound of Music\u003c/em> wholesomeness, rather than March’s violent vision of love. But composer/lyricist/book writer Andrew Lippa’s musical version of March’s classic — also entitled \u003cem>The Wild Party —\u003c/em> catches it all and plays a few tricks of its own along the way. It’s as nutty and chancy as the poem, and in some ways more expansive, loose, and American in feel.\u003c/p>\n\u003cfigure id=\"attachment_11613416\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613416 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg\" alt=\"wildpartyproduction5\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction5-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burrs (Paul Grant Hovannes) brews in Ray of Lights’ ‘The Wild Party.’ (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>March found something mythic in the love story between showgirl Queenie and her clown of a boyfriend, Burrs, who actually is a clown. The role is played by a commanding Paul Grant Hovannes in \u003ca href=\"http://rayoflighttheatre.com/wild-party/\" target=\"_blank\" rel=\"noopener\">Ray of Light Theatre\u003c/a>‘s production. You can feel the killer and the comic in Burr’s name, especially in the the way it slides off the tongue when Queenie (a fine Jocelyn Pickett) sings his name throughout the show. Every time you hear Burrs’ name, it jolts; those\u003cem> rrrrrr’s\u003c/em> smear contempt.\u003c/p>\n\u003cp>What we’re here for, though, is a party — the cure Queenie and Burrs seek for their failing relationship. And Lippa is an obliging host, delivering the goods with the slick verve of the slimiest paparazzi. Everything is frenzied, and yet each moment is vivid, distinct, and alive. The score, a mélange of jazz, blues, show tunes, rock, pop ballads, anything that gets Lippa to the brutal core of Queenie and Burrs’ desperate love, is loose yet elaborately structured.\u003c/p>\n\u003cfigure id=\"attachment_11613415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11613415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg\" alt=\"Ramond Thomas as Black sings of his despair for Queenie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/wildpartyproduction2.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramond Thomas as Black sings of his despair for Queenie. (Photo: Nick Otto)\u003c/figcaption>\u003c/figure>\n\u003cp>And so Lippa can blindside you with real feeling, as if sleaze and an anything goes attitude were the fastest way to our hearts. When the mysterious Black (a sharp and understated Ramond Thomas) sings of his attraction to and despair for Queenie in his beautiful ballad, “Poor Child,” the broad, archetypal outlines of the characters turn shocking and real. The same is true when Queenie sings of Burrs’ violence, “Maybe I Like It This Way,” or Burrs’ scream of “\u003cem>Nooooooooooooooooo!\u003c/em>” at the end of the tiki lounge-inspired, “What Is It About Her.” These are real people, not jokes, and so we can suffer with them. And Party. And ruin our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Marsh’s doggerel verse, Lippa’s \u003cem>Wild Party\u003c/em> is highly structured and always on the verge of spinning out of control. And the same compliment should be extended to Ray of Light’s vibrant, propulsive production. It’s not perfect and sometimes the acting and staging falters. But in their desire to get at the burning soul of real people, of real feeling, and of why self-destruction is sometimes preferable to just going on, the cast and crew give us a wild party that March would recognize — trashy, alive, and game to risk everything.\u003c/p>\n\u003cfigure id=\"attachment_11613418\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11613418 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg\" alt=\"WildParty_6\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/WildParty_6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Burrs (Paul Grant Hovannes), Queenie (Jocelyn Pickett), and Black (Ramond Thomas) are ready to go wild in Ray of Light’s ‘The Wild Party.’ (Photo: Erik Scanlon)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Wild Party\u003c/em> plays at the Victoria Theater in San Francisco through Saturday, Jun. 11. \u003c/strong>\u003cstrong>For tickets and information head \u003ca href=\"http://www.rayoflighttheatre.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Also, San Jose Stage opens its own production of \u003cem>The Wild Party\u003c/em> on Wednesday, Jun. 1. The show runs through Sunday, Jul. 28. Find out more about this South Bay production \u003ca href=\"http://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Neo-Nazis Are Really Into Taylor Swift",
"title": "Neo-Nazis Are Really Into Taylor Swift",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's an unfortunate facet of pop culture idolatry that the most dedicated fans -- the ones who start all-caps Facebook comment wars, those who physically follow the subjects of their devotion on the road just to scream about them in large groups -- sometimes actually end up ruining their idols for everyone else.\u003c/p>\n\u003cp>Whether it's the sheer volume of the yelling or some other distasteful attribute, the aura (if you will) of their rabid fandom can actually distract to the point that it overshadows the beloved person or entity; it becomes difficult to judge or discuss the figure at hand's true qualities without taking into account the unpleasantness of his or her most fervent followers.\u003c/p>\n\u003cp>The most recently visible instance of this, of course, is the worst of the Bernie Bros -- Sanders supporters whose penchant for \u003ca href=\"https://youtu.be/JrGlaUo4JEE\" target=\"_blank\">misogyny and verbal abuse\u003c/a> have all but drowned out actual discourse about the candidate's policies. Another, perhaps less weighty example: Juggalos. Does anyone know if ICP's music is any good? I honestly can't recall a time I've purposefully listened to it. I'm pretty sure I don't like it, but at this point that's hard to separate from the approximately 500,000 terrible associations I already have with \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/aug/18/insane-clown-posse\" target=\"_blank\">their fanbase\u003c/a>.\u003c/p>\n\u003cp>Well, friends, this is an exciting day: A bar has been lowered; a new archetype cemented. Let May 24, 2016 go down in history as the day we learned about the \u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\">neo-Nazis who are also die-hard Swifties\u003c/a>.\u003c/p>\n\u003cp>Yes, \u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\">according to Broadly\u003c/a>, \"Nazis and members of the 'alt right' — an Internet subculture that is best described as the venn diagram of hipster culture and white supremacy — have been spreading a conspiracy theory that [Taylor] Swift is a covert Nazi.\"\u003c/p>\n\u003cblockquote>\u003cp>\"Firstly, Taylor Swift is a pure Aryan goddess, like something out of classical Greek poetry. Athena reborn. That's the most important thing,\" explains Andre Anglin, the writer of the white supremacist blog \u003ca href=\"http://www.dailystormer.com/\">the Daily Stormer\u003c/a>. \"It is also an established fact that Taylor Swift is secretly a Nazi and is simply waiting for the time when Donald Trump makes it safe for her to come out and announce her Aryan agenda to the world. Probably, she will be betrothed to Trump's son, and they will be crowned American royalty.\"\u003c/p>\u003c/blockquote>\n\u003cp>Cool theory, huh? In case you were unsure about this Anglin guy, here is another fun quote to help, uh, sculpt your feelings about him:\u003c/p>\n\u003cblockquote>\u003cp>Anglin believes Swift Nazi memes may have existed since her \"Teardrops on My Guitar\" days. \"Some believe it was meme magic that made her famous—though no one can be certain,\" he says. \"We are certain that as soon as Nazis saw her, they were magnetically drawn to her sculpted Aryan form and angelic demeanor.\"\u003c/p>\u003c/blockquote>\n\u003cp>Meanwhile, more than 19,000 people are members of a Facebook group called \u003ca href=\"https://www.facebook.com/PraiseTheEmpress/timeline\" target=\"_blank\">Taylor Swift for Fascist Europe,\u003c/a> to which they post memes pairing images of Swift and quotes about racial hygiene and the like. See below:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-25112\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-800x450.jpg\" alt=\"13268331_1147429278613009_598790141373118893_o\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Recall, too, that this isn't the first time Swift's name has been used in conjunction with history's most infamous racist: In 2015, author Camille Paglia got some \u003ca href=\"http://forward.com/the-assimilator/327118/taylor-swift-is-no-nazi-barbie-jewish-group-tells-camille-paglia/\" target=\"_blank\">backlash from Jewish groups\u003c/a> after referring to the singer as an \"obnoxious Nazi Barbie.\"\u003c/p>\n\u003cp>Unsurprisingly, Swift's camp -- which has been known to bring lawsuits against fans for trespasses such as \u003ca href=\"https://www.buzzfeed.com/patricksmith/taylor-swifts-lawyers-have-threatened-etsy-sellers?utm_term=.dtdKqmEkY#.uoGdX07ro\" target=\"_blank\">selling t-shirts with Swift lyrics on them \u003c/a>-- is none too pleased, either.\u003c/p>\n\u003cp>\"The association of Ms. Swift with Adolf Hitler undisputedly is 'harmful,' 'abusive,' 'ethnically offensive,' 'humiliating to other people,' 'libelous,' and no doubt 'otherwise objectionable,'\" wrote attorney J Douglas Baldridge in a letter to Pinterest in 2013, after a user \u003ca href=\"https://www.buzzfeed.com/ailbhemalone/a-pinterest-user-has-been-attributing-hitler-quotes-to-taylo?utm_term=.vbwb6AVpj#.qr95gJMQr\" target=\"_blank\">went viral by attributing Hitler quotes to her royal Swiftness\u003c/a>.\u003c/p>\n\u003cp>\"It is of no import that Ms. Swift may be a public figure or that Pinterest conveniently now argues that the Offending Material is mere satire or parody. Public figures have rights. And, there are certain historical figures, such as Adolf Hitler, Charles Manson and the like, who are universally identified in the case law and popular culture as lightning rods for emotional and negative reaction.\"\u003c/p>\n\u003cp>Public figures do have rights, of course. And certainly there's nothing amusing about hate groups. But -- and I'll tread lightly here -- can we admit there's something perversely hilarious in this particular association actually sticking? Like maybe: Is being the target of Nazi-related memes because you are truly a logical poster child for racial purity the \u003cem>one \u003c/em>drawback to being a staggeringly wealthy, privileged, blond-haired, blue-eyed white woman who embodies our Western beauty standards more than any other present-day cultural figure? Real bummer, that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In any event,\u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\"> the whole piece\u003c/a> is worth a read. At the very least, you'll understand in the future when I refer to the nefarious powers of \"neo-Swiftzies\" in the same breath as \u003ca href=\"http://www.spin.com/2014/08/insane-clown-posse-juggalo-murder-tattoo-knife-attack/\" target=\"_blank\">these gems\u003c/a>.\u003c/p>\n\n",
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"excerpt": "In which terrifying, modern-day advocates for racial purity apparently have a lot in common with suburban teens. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's an unfortunate facet of pop culture idolatry that the most dedicated fans -- the ones who start all-caps Facebook comment wars, those who physically follow the subjects of their devotion on the road just to scream about them in large groups -- sometimes actually end up ruining their idols for everyone else.\u003c/p>\n\u003cp>Whether it's the sheer volume of the yelling or some other distasteful attribute, the aura (if you will) of their rabid fandom can actually distract to the point that it overshadows the beloved person or entity; it becomes difficult to judge or discuss the figure at hand's true qualities without taking into account the unpleasantness of his or her most fervent followers.\u003c/p>\n\u003cp>The most recently visible instance of this, of course, is the worst of the Bernie Bros -- Sanders supporters whose penchant for \u003ca href=\"https://youtu.be/JrGlaUo4JEE\" target=\"_blank\">misogyny and verbal abuse\u003c/a> have all but drowned out actual discourse about the candidate's policies. Another, perhaps less weighty example: Juggalos. Does anyone know if ICP's music is any good? I honestly can't recall a time I've purposefully listened to it. I'm pretty sure I don't like it, but at this point that's hard to separate from the approximately 500,000 terrible associations I already have with \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/aug/18/insane-clown-posse\" target=\"_blank\">their fanbase\u003c/a>.\u003c/p>\n\u003cp>Well, friends, this is an exciting day: A bar has been lowered; a new archetype cemented. Let May 24, 2016 go down in history as the day we learned about the \u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\">neo-Nazis who are also die-hard Swifties\u003c/a>.\u003c/p>\n\u003cp>Yes, \u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\">according to Broadly\u003c/a>, \"Nazis and members of the 'alt right' — an Internet subculture that is best described as the venn diagram of hipster culture and white supremacy — have been spreading a conspiracy theory that [Taylor] Swift is a covert Nazi.\"\u003c/p>\n\u003cblockquote>\u003cp>\"Firstly, Taylor Swift is a pure Aryan goddess, like something out of classical Greek poetry. Athena reborn. That's the most important thing,\" explains Andre Anglin, the writer of the white supremacist blog \u003ca href=\"http://www.dailystormer.com/\">the Daily Stormer\u003c/a>. \"It is also an established fact that Taylor Swift is secretly a Nazi and is simply waiting for the time when Donald Trump makes it safe for her to come out and announce her Aryan agenda to the world. Probably, she will be betrothed to Trump's son, and they will be crowned American royalty.\"\u003c/p>\u003c/blockquote>\n\u003cp>Cool theory, huh? In case you were unsure about this Anglin guy, here is another fun quote to help, uh, sculpt your feelings about him:\u003c/p>\n\u003cblockquote>\u003cp>Anglin believes Swift Nazi memes may have existed since her \"Teardrops on My Guitar\" days. \"Some believe it was meme magic that made her famous—though no one can be certain,\" he says. \"We are certain that as soon as Nazis saw her, they were magnetically drawn to her sculpted Aryan form and angelic demeanor.\"\u003c/p>\u003c/blockquote>\n\u003cp>Meanwhile, more than 19,000 people are members of a Facebook group called \u003ca href=\"https://www.facebook.com/PraiseTheEmpress/timeline\" target=\"_blank\">Taylor Swift for Fascist Europe,\u003c/a> to which they post memes pairing images of Swift and quotes about racial hygiene and the like. See below:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-25112\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-800x450.jpg\" alt=\"13268331_1147429278613009_598790141373118893_o\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/13268331_1147429278613009_598790141373118893_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Recall, too, that this isn't the first time Swift's name has been used in conjunction with history's most infamous racist: In 2015, author Camille Paglia got some \u003ca href=\"http://forward.com/the-assimilator/327118/taylor-swift-is-no-nazi-barbie-jewish-group-tells-camille-paglia/\" target=\"_blank\">backlash from Jewish groups\u003c/a> after referring to the singer as an \"obnoxious Nazi Barbie.\"\u003c/p>\n\u003cp>Unsurprisingly, Swift's camp -- which has been known to bring lawsuits against fans for trespasses such as \u003ca href=\"https://www.buzzfeed.com/patricksmith/taylor-swifts-lawyers-have-threatened-etsy-sellers?utm_term=.dtdKqmEkY#.uoGdX07ro\" target=\"_blank\">selling t-shirts with Swift lyrics on them \u003c/a>-- is none too pleased, either.\u003c/p>\n\u003cp>\"The association of Ms. Swift with Adolf Hitler undisputedly is 'harmful,' 'abusive,' 'ethnically offensive,' 'humiliating to other people,' 'libelous,' and no doubt 'otherwise objectionable,'\" wrote attorney J Douglas Baldridge in a letter to Pinterest in 2013, after a user \u003ca href=\"https://www.buzzfeed.com/ailbhemalone/a-pinterest-user-has-been-attributing-hitler-quotes-to-taylo?utm_term=.vbwb6AVpj#.qr95gJMQr\" target=\"_blank\">went viral by attributing Hitler quotes to her royal Swiftness\u003c/a>.\u003c/p>\n\u003cp>\"It is of no import that Ms. Swift may be a public figure or that Pinterest conveniently now argues that the Offending Material is mere satire or parody. Public figures have rights. And, there are certain historical figures, such as Adolf Hitler, Charles Manson and the like, who are universally identified in the case law and popular culture as lightning rods for emotional and negative reaction.\"\u003c/p>\n\u003cp>Public figures do have rights, of course. And certainly there's nothing amusing about hate groups. But -- and I'll tread lightly here -- can we admit there's something perversely hilarious in this particular association actually sticking? Like maybe: Is being the target of Nazi-related memes because you are truly a logical poster child for racial purity the \u003cem>one \u003c/em>drawback to being a staggeringly wealthy, privileged, blond-haired, blue-eyed white woman who embodies our Western beauty standards more than any other present-day cultural figure? Real bummer, that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In any event,\u003ca href=\"https://broadly.vice.com/en_us/article/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\" target=\"_blank\"> the whole piece\u003c/a> is worth a read. At the very least, you'll understand in the future when I refer to the nefarious powers of \"neo-Swiftzies\" in the same breath as \u003ca href=\"http://www.spin.com/2014/08/insane-clown-posse-juggalo-murder-tattoo-knife-attack/\" target=\"_blank\">these gems\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Richmond plans to hold another \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener\">Rosie the Riveter rally\u003c/a> this summer and snatch back the Guinness World Record for largest Rosie the Riveter event from the grasp of Ypsilanti, Mich.\u003c/p>\n\u003cp>The East Bay city, which is also home to the Rosie the Riveter/WWII Home Front National Historical Park, set the record last August with an event that attracted 1,084 women dressed as the WWII feminist icon. But just two months later, Ypsilanti held its own Rosie event and \u003ca href=\"http://www.savethebomberplant.org/rosie-world-record/\" target=\"_blank\" rel=\"noopener\">brought out 2,096 Rosies\u003c/a>, setting a new record.\u003c/p>\n\u003cp>That only fired up the organizers of the Richmond event, who are ready to set a new record, and this time everybody is invited to help — including men. All you need is the required uniform: a red bandana with polka dots, a dark blue collared shirt and matching pants, boots and red socks. Don’t have those things lying around? The park’s visitor center will have “Rosie Rally Packs” available starting in June.\u003c/p>\n\u003cp>The event is scheduled for Saturday, Aug. 13, at the \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">Craneway Pavilion\u003c/a> in Richmond. For more information on the event, visit \u003ca href=\"http://www.rosietheriveter.org/news-events/events/item/169-join-us-on-august-13th-2016-for-the-rosie-rally\" target=\"_blank\" rel=\"noopener\">rosietheriveter.org\u003c/a> or their \u003ca href=\"https://www.facebook.com/events/1134684259917061/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Watch our video of last year’s event below:\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LGOfv3uXYBk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Richmond plans to hold another \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener\">Rosie the Riveter rally\u003c/a> this summer and snatch back the Guinness World Record for largest Rosie the Riveter event from the grasp of Ypsilanti, Mich.\u003c/p>\n\u003cp>The East Bay city, which is also home to the Rosie the Riveter/WWII Home Front National Historical Park, set the record last August with an event that attracted 1,084 women dressed as the WWII feminist icon. But just two months later, Ypsilanti held its own Rosie event and \u003ca href=\"http://www.savethebomberplant.org/rosie-world-record/\" target=\"_blank\" rel=\"noopener\">brought out 2,096 Rosies\u003c/a>, setting a new record.\u003c/p>\n\u003cp>That only fired up the organizers of the Richmond event, who are ready to set a new record, and this time everybody is invited to help — including men. All you need is the required uniform: a red bandana with polka dots, a dark blue collared shirt and matching pants, boots and red socks. Don’t have those things lying around? The park’s visitor center will have “Rosie Rally Packs” available starting in June.\u003c/p>\n\u003cp>The event is scheduled for Saturday, Aug. 13, at the \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">Craneway Pavilion\u003c/a> in Richmond. For more information on the event, visit \u003ca href=\"http://www.rosietheriveter.org/news-events/events/item/169-join-us-on-august-13th-2016-for-the-rosie-rally\" target=\"_blank\" rel=\"noopener\">rosietheriveter.org\u003c/a> or their \u003ca href=\"https://www.facebook.com/events/1134684259917061/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Watch our video of last year’s event below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nick Menza, former drummer for the influential metal band Megadeth, died after collapsing on stage during a performance of his progressive jazz trio in Southern California, a family spokesman said Sunday.\u003c/p>\n\u003cp>Menza’s latest band OHM was three songs into a semi-regular set at a Los Angeles-area club Saturday night when the drummer collapsed, J. Marshall Craig told The Associated Press. Friends and audience members rendered aid while paramedics were called.\u003c/p>\n\u003cp>The 51-year-old died at the club of a suspected massive heart attack, Craig said.\u003c/p>\n\u003cp>Menza was Megadeth’s longest-serving drummer, performing on five records over nine years, including 1990’s thrash metal landmark,\u003cem> Rust In Peace\u003c/em>.\u003c/p>\n\u003cp>Dave Mustaine, singer, guitarist and co-founder of Megadeth, said in a statement that he awoke to a text message from his son with the news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\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>Nick Menza, former drummer for the influential metal band Megadeth, died after collapsing on stage during a performance of his progressive jazz trio in Southern California, a family spokesman said Sunday.\u003c/p>\n\u003cp>Menza’s latest band OHM was three songs into a semi-regular set at a Los Angeles-area club Saturday night when the drummer collapsed, J. Marshall Craig told The Associated Press. Friends and audience members rendered aid while paramedics were called.\u003c/p>\n\u003cp>The 51-year-old died at the club of a suspected massive heart attack, Craig said.\u003c/p>\n\u003cp>Menza was Megadeth’s longest-serving drummer, performing on five records over nine years, including 1990’s thrash metal landmark,\u003cem> Rust In Peace\u003c/em>.\u003c/p>\n\u003cp>Dave Mustaine, singer, guitarist and co-founder of Megadeth, said in a statement that he awoke to a text message from his son with the news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Shocked, devastated, and saddened don’t begin to describe my feelings,” Mustaine said.\u003c/p>\n\u003cp>“As a player, Nick had a very powerful jazzy flair, unpredictable and always entertaining, and as great a drummer as he was, the time spent with him as a person, a bandmate, and a friend was even more fun,” Mustaine’s statement said.\u003c/p>\n\u003cp>Marty Friedman, the band’s guitarist from 1990 to 2000, wrote on Facebook that Menza was “a great and unique drummer” and “a trustworthy friend, a hilarious bandmate, as well as a very loving dad.”\u003c/p>\n\u003cp>After leaving Megadeth in 1998, Menza pursued an interest in jazz and became an accomplished woodworker.\u003c/p>\n\u003cp>Mustaine said he discussed Menza returning to the band several times, “but for various reasons it never came together.”\u003c/p>\n\u003cp>Menza’s autobiography, co-written by Craig, will detail the drummer’s life in and out of music and is set for a July release.\u003c/p>\n\u003cp>He is survived by his mother and father, the jazz saxophonist Don Menza, and two sons.\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": "New Music: A Massive Grateful Dead Tribute, East L.A.'s 'Stars at Night'",
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"content": "\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oddNibVais8\u003c/p>\n\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCanZehKVD0\u003c/p>\n\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DCyAE-UJVng\u003c/p>\n\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\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/oddNibVais8'\n title='//www.youtube.com/embed/oddNibVais8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\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/HCanZehKVD0'\n title='//www.youtube.com/embed/HCanZehKVD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\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/DCyAE-UJVng'\n title='//www.youtube.com/embed/DCyAE-UJVng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Suhr's Resignation, Bay Area Musicians Keep Pushing for Change",
"headTitle": "After Suhr’s Resignation, Bay Area Musicians Keep Pushing for Change | KQED",
"content": "\u003cp>The \u003ca href=\"http://ww2.kqed.org/news/2016/05/19/suhr-resigns-after-series-of-fatal-officer-involved-shootings\" target=\"_blank\" rel=\"noopener\">resignation Thursday\u003c/a> of SFPD chief Greg Suhr arrived amid vocal protests from the arts community — including a highly publicized hunger strike from the ‘Frisco Five,’ involving \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">three hip-hop artists\u003c/a>. But in the wake of Suhr’s resignation, which local musicians are continuing the fight for social and political change?\u003c/p>\n\u003cp>It turns out there are many. With police shootings and homelessness, rising inequality, and clashes between long-established communities and naïve new residents, these are hard times for the Bay Area. But it’s also a renaissance for musical resistance. \u003c/p>\n\u003cfigure id=\"attachment_11600559\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Odabi.jpg\" alt=\"Terrie Odabi.\" width=\"500\" height=\"700\" class=\"size-full wp-image-11600559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi-429x600.jpg 429w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Terrie Odabi. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gentrification and displacement\u003c/h2>\n\u003cp>\u003cstrong>Terrie Odabi\u003c/strong> didn’t set out to write an anthem protesting the demographic changes sweeping over Oakland. A veteran vocalist and rising force on the Bay Area blues scene, she’d kept her politics off the bandstand. But after continuing reports of conflict between longtime African-American residents and recent Oaktown arrivals, she decided to sing out — which led to “Gentrification Blues,” the defiant opening track of her new album \u003cem>My Blue Soul\u003c/em>.\u003c/p>\n\u003cp>“There was the church in West Oakland where people started calling the police and making noise complaints,” says Odabi, who celebrates the release of \u003cem>My Blue Soul\u003c/em> at \u003ca href=\"http://www.soundroom.org/#\">Oakland’s Sound Room\u003c/a> on June 11. “There were the drummers on Lake Merritt getting the police called on them. The lyrics just started coming to me. The gist is you can live anywhere you want to, but to come into a community and not respect what’s going on, that’s being entitled.”\u003c/p>\n\u003cp>It’s no coincidence that so many of the artists delivering potent musical manifestos, like Odabi, have deep ties to jazz and blues. The history and aesthetics of African-American music — going back to Congo Square in New Orleans — are all about transforming the materials at hand into tools for survival, sanctification and resistance, as Greg Tate argued in a recent essay for The Fader, titled ‘\u003ca>Why Jazz Will Always Be Relevant\u003c/a>.’\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Collage, cut-and-paste, sampling, remixing, and genre contamination has been a preferred mode in African-American music since the 1800s,” Tate writes. \u003c/p>\n\u003cfigure id=\"attachment_11600560\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang.jpg\" alt=\"Jon Jang.\" width=\"571\" height=\"800\" class=\"size-full wp-image-11600560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang-428x600.jpg 428w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Jon Jang. \u003ccite>(Photo: Bob Hsiang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hands up, don’t shoot\u003c/h2>\n\u003cp>Cultural collage and cross-pollinating traditions have also been a central component of the Asian Improv movement, which took shape in the Bay Area in the early 1980s when it staked a deep claim to the liberatory imperative and experimental ethos of radical black music. Pianist and composer \u003ca href=\"http://www.jonjang.com\">\u003cstrong>Jon Jang\u003c/strong>\u003c/a>, who first gained international attention with drum legend \u003ca href=\"https://en.wikipedia.org/wiki/Max_Roach\">Max Roach\u003c/a> and erhu master \u003ca href=\"http://www.jiebingchen.com\">Jiebing Chen\u003c/a> in the Beijing Trio, presents excerpts from a work in progress titled \u003cem>Can’t Stop Cryin’ for America: Black Lives Matter!\u003c/em> at \u003ca href=\"http://www.sfiaf.org/jon_jang_quintet\">Fort Mason Center\u003c/a>’s 308 Gallery as part of the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival\u003c/a> on May 21. A collaboration with poet Amanda Kemp, the seven-part suite focuses on black men killed during police encounters, including Oscar Grant and Mario Woods.\u003c/p>\n\u003cp>Drawing inspiration from Roach and Charles Mingus, who both took early and outspoken stances against white supremacy, Jang has designed a set for a multi-cultural, multi-generational cast of musicians, including drummer Akira Tana and saxophonist Hitomi Oba, who contributes “An Offering to Sandra Bland.” The program also features Mingus’s “Meditation on Integration,” and “Prayer for Melvin Truss,” a piece composed by tenor saxophonist \u003ca href=\"http://www.franciswong.net\">Francis Wong\u003c/a> in memory of an unarmed African-American 17-year-old shot to death by a San Jose police officer in 1985.\u003c/p>\n\u003cp>The program makes the point that the struggle is long and ongoing, “a lesson from W.E.B. Du Bois that I learned from Amiri Baraka, ‘The Sisyphus Syndrome,’” Jang says. “The allegory is that black people would reach the mountain fighting for justice, and the rock would fall back down. History repeats itself. The rock goes up and then goes back down, and the role of the artist is to interpret the past, define the present, and imagine the future.”\u003c/p>\n\u003cfigure id=\"attachment_11600558\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg\" alt=\"Anthony Brown.\" width=\"750\" height=\"500\" class=\"size-full wp-image-11600558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown. \u003ccite>(Kathy Sloane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Freedom now\u003c/h2>\n\u003cp>Max Roach’s long shadow also extends to drummer \u003cstrong>Anthony Brown\u003c/strong>’s two SFIAF performances on June 5, when his Grammy Award-nominated Asian American Orchestra presents the premiere of “\u003ca href=\"http://www.sfiaf.org/anthony_brown_s_asian_american_orchestra\">Freedom Now Suite 2016\u003c/a>,” a reimagining of Roach’s seminal 1960 album \u003cem>We Insist!\u003c/em> (the AAO reprises the suite at Oakland’s \u003ca href=\"http://musicallyminded.org\">Musically Minded Academy\u003c/a> on June 18). Widely hailed as an early merging of civil rights and jazz, the original album with Oscar Brown, Jr., Abbey Lincoln and Coleman Hawkins contains songs such as “Freedom Day,” “Triptych: Prayer/Protest/Peace,” and “Tears for Johannesburg.” \u003c/p>\n\u003cp>In the same way that Roach utilized percussionists Ray Mantilla and Michael Olatunji to embody connections between African diaspora cultures, Brown has expanded his singular mix of Western and traditional Asian instrumentation with the four-piece Ojala Bata Ensemble. Working with powerhouse vocalist Amikaeyla Proudfoot Gaston, Brown conducted research in the \u003ca href=\"http://www.nytimes.com/2014/01/25/arts/music/library-of-congress-acquires-max-roachs-papers.html\">Max Roach Collection\u003c/a> at the Library of Congress and “discovered so much about the project that we didn’t know, that has not been made public,” and those elements inform the new suite.\u003c/p>\n\u003cfigure id=\"attachment_11600561\" class=\"wp-caption alignright\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno.jpg\" alt=\"Valerie Troutt.\" width=\"531\" height=\"778\" class=\"size-full wp-image-11600561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno-410x600.jpg 410w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Valerie Troutt. \u003ccite>(Photo: James Barry Knox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A ‘universal synagogue’\u003c/h2>\n\u003cp>Violence afflicting black communities, from inside and outside, is the central concern of choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/nicole-klaymoon/\">Embodiment Project\u003c/a>, which presents “\u003ca href=\"http://ybgfestival.org/event/embodiment-project/\">Chalk Outlines\u003c/a>” on June 11 at \u003ca href=\"http://ybgfestival.org\">Yerba Buena Gardens\u003c/a>. Featuring original music by soul/jazz singer \u003ca href=\"http://www.valerietrouttprojects.com\">\u003cstrong>Valerie Troutt\u003c/strong>\u003c/a> performed by her vocal ensemble MoonCandy, “Chalk Outlines” is an outgrowth of the hip-hop dance company’s mission to bring various street dance forms to new audiences.\u003c/p>\n\u003cp>Much like Jang and Brown cite the influence of Roach, Troutt credits as inspiration the power of traditional African-American forms from \u003ca href=\"http://www.culturalheritagechoir.com\">Linda Tillery\u003c/a> and Melanie DeMore. “It’s like Amiri Baraka said, if you trace the music of a people, you know where you’ve been and where you’re going,” Troutt says. “Working with Nicole Klaymoon, we are using elements of folk, percussion and voice that’s reminiscent of a chain gang, the gospel choir, and mourning mothers, all those kinds of sounds. But also house music, because the nightclub is a church, our universal synagogue for people to come and get free.”\u003c/p>\n\u003cfigure id=\"attachment_11600562\" class=\"wp-caption alignright\" style=\"max-width: 572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RupaBooth.jpg\" alt=\"Rupa Marya.\" width=\"572\" height=\"800\" class=\"size-full wp-image-11600562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth-429x600.jpg 429w\" sizes=\"(max-width: 572px) 100vw, 572px\">\u003cfigcaption class=\"wp-caption-text\">Rupa Marya. \u003ccite>(Photo: Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Writing the songs of unity\u003c/h2>\n\u003cp>Music was a vital force on the front lines of the recent demonstrations supporting the Frisco Five, a struggle that brought musician/physician \u003ca href=\"http://www.theaprilfishes.com/rupa.html\">\u003cstrong>Rupa Marya\u003c/strong>\u003c/a> directly into the fray. Though she engaged in the protests as a doctor, spearheading the efforts to monitor the health of the hunger strikers — including rappers Equipto, Selassie and Ike Plump — the experience inevitably fed back into her ever-evolving creative work as a composer, performer, and bandleader of the April Fishes.\u003c/p>\n\u003cp>Marya’s currently looking for a sound that embodies social change, a sound “that could make people feel comfortable in the same room,” she says. “It’s remarkable how segregated San Francisco is. For me, watching white friends stepping in solidarity with black and brown friends has been so powerful. What I hear in my mind is music that reaches across typical genre forms, a black music, Latino music, white music, Asian music that’s going to allow us to come to from a place of identity and move past it and form alliances.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s a song we’d all love to hear.\u003c/p>\n\n",
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"excerpt": "In the wake of the 'Frisco Five' hunger strike and SFPD chief Greg Suhr's resignation, meet five local musicians continuing to work toward a better Bay Area.",
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"description": "In the wake of the 'Frisco Five' hunger strike and SFPD chief Greg Suhr's resignation, meet five local musicians continuing to work toward a better Bay Area.",
"title": "After Suhr's Resignation, Bay Area Musicians Keep Pushing for Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://ww2.kqed.org/news/2016/05/19/suhr-resigns-after-series-of-fatal-officer-involved-shootings\" target=\"_blank\" rel=\"noopener\">resignation Thursday\u003c/a> of SFPD chief Greg Suhr arrived amid vocal protests from the arts community — including a highly publicized hunger strike from the ‘Frisco Five,’ involving \u003ca href=\"http://ww2.kqed.org/arts/2016/04/30/equiptos-hunger-strike-the-importance-of-art-in-social-change/\" target=\"_blank\" rel=\"noopener\">three hip-hop artists\u003c/a>. But in the wake of Suhr’s resignation, which local musicians are continuing the fight for social and political change?\u003c/p>\n\u003cp>It turns out there are many. With police shootings and homelessness, rising inequality, and clashes between long-established communities and naïve new residents, these are hard times for the Bay Area. But it’s also a renaissance for musical resistance. \u003c/p>\n\u003cfigure id=\"attachment_11600559\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Odabi.jpg\" alt=\"Terrie Odabi.\" width=\"500\" height=\"700\" class=\"size-full wp-image-11600559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Odabi-429x600.jpg 429w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Terrie Odabi. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gentrification and displacement\u003c/h2>\n\u003cp>\u003cstrong>Terrie Odabi\u003c/strong> didn’t set out to write an anthem protesting the demographic changes sweeping over Oakland. A veteran vocalist and rising force on the Bay Area blues scene, she’d kept her politics off the bandstand. But after continuing reports of conflict between longtime African-American residents and recent Oaktown arrivals, she decided to sing out — which led to “Gentrification Blues,” the defiant opening track of her new album \u003cem>My Blue Soul\u003c/em>.\u003c/p>\n\u003cp>“There was the church in West Oakland where people started calling the police and making noise complaints,” says Odabi, who celebrates the release of \u003cem>My Blue Soul\u003c/em> at \u003ca href=\"http://www.soundroom.org/#\">Oakland’s Sound Room\u003c/a> on June 11. “There were the drummers on Lake Merritt getting the police called on them. The lyrics just started coming to me. The gist is you can live anywhere you want to, but to come into a community and not respect what’s going on, that’s being entitled.”\u003c/p>\n\u003cp>It’s no coincidence that so many of the artists delivering potent musical manifestos, like Odabi, have deep ties to jazz and blues. The history and aesthetics of African-American music — going back to Congo Square in New Orleans — are all about transforming the materials at hand into tools for survival, sanctification and resistance, as Greg Tate argued in a recent essay for The Fader, titled ‘\u003ca>Why Jazz Will Always Be Relevant\u003c/a>.’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Collage, cut-and-paste, sampling, remixing, and genre contamination has been a preferred mode in African-American music since the 1800s,” Tate writes. \u003c/p>\n\u003cfigure id=\"attachment_11600560\" class=\"wp-caption alignright\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang.jpg\" alt=\"Jon Jang.\" width=\"571\" height=\"800\" class=\"size-full wp-image-11600560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/JonJang_photo_By_BobHsiang-428x600.jpg 428w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Jon Jang. \u003ccite>(Photo: Bob Hsiang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hands up, don’t shoot\u003c/h2>\n\u003cp>Cultural collage and cross-pollinating traditions have also been a central component of the Asian Improv movement, which took shape in the Bay Area in the early 1980s when it staked a deep claim to the liberatory imperative and experimental ethos of radical black music. Pianist and composer \u003ca href=\"http://www.jonjang.com\">\u003cstrong>Jon Jang\u003c/strong>\u003c/a>, who first gained international attention with drum legend \u003ca href=\"https://en.wikipedia.org/wiki/Max_Roach\">Max Roach\u003c/a> and erhu master \u003ca href=\"http://www.jiebingchen.com\">Jiebing Chen\u003c/a> in the Beijing Trio, presents excerpts from a work in progress titled \u003cem>Can’t Stop Cryin’ for America: Black Lives Matter!\u003c/em> at \u003ca href=\"http://www.sfiaf.org/jon_jang_quintet\">Fort Mason Center\u003c/a>’s 308 Gallery as part of the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival\u003c/a> on May 21. A collaboration with poet Amanda Kemp, the seven-part suite focuses on black men killed during police encounters, including Oscar Grant and Mario Woods.\u003c/p>\n\u003cp>Drawing inspiration from Roach and Charles Mingus, who both took early and outspoken stances against white supremacy, Jang has designed a set for a multi-cultural, multi-generational cast of musicians, including drummer Akira Tana and saxophonist Hitomi Oba, who contributes “An Offering to Sandra Bland.” The program also features Mingus’s “Meditation on Integration,” and “Prayer for Melvin Truss,” a piece composed by tenor saxophonist \u003ca href=\"http://www.franciswong.net\">Francis Wong\u003c/a> in memory of an unarmed African-American 17-year-old shot to death by a San Jose police officer in 1985.\u003c/p>\n\u003cp>The program makes the point that the struggle is long and ongoing, “a lesson from W.E.B. Du Bois that I learned from Amiri Baraka, ‘The Sisyphus Syndrome,’” Jang says. “The allegory is that black people would reach the mountain fighting for justice, and the rock would fall back down. History repeats itself. The rock goes up and then goes back down, and the role of the artist is to interpret the past, define the present, and imagine the future.”\u003c/p>\n\u003cfigure id=\"attachment_11600558\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg\" alt=\"Anthony Brown.\" width=\"750\" height=\"500\" class=\"size-full wp-image-11600558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown. \u003ccite>(Kathy Sloane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Freedom now\u003c/h2>\n\u003cp>Max Roach’s long shadow also extends to drummer \u003cstrong>Anthony Brown\u003c/strong>’s two SFIAF performances on June 5, when his Grammy Award-nominated Asian American Orchestra presents the premiere of “\u003ca href=\"http://www.sfiaf.org/anthony_brown_s_asian_american_orchestra\">Freedom Now Suite 2016\u003c/a>,” a reimagining of Roach’s seminal 1960 album \u003cem>We Insist!\u003c/em> (the AAO reprises the suite at Oakland’s \u003ca href=\"http://musicallyminded.org\">Musically Minded Academy\u003c/a> on June 18). Widely hailed as an early merging of civil rights and jazz, the original album with Oscar Brown, Jr., Abbey Lincoln and Coleman Hawkins contains songs such as “Freedom Day,” “Triptych: Prayer/Protest/Peace,” and “Tears for Johannesburg.” \u003c/p>\n\u003cp>In the same way that Roach utilized percussionists Ray Mantilla and Michael Olatunji to embody connections between African diaspora cultures, Brown has expanded his singular mix of Western and traditional Asian instrumentation with the four-piece Ojala Bata Ensemble. Working with powerhouse vocalist Amikaeyla Proudfoot Gaston, Brown conducted research in the \u003ca href=\"http://www.nytimes.com/2014/01/25/arts/music/library-of-congress-acquires-max-roachs-papers.html\">Max Roach Collection\u003c/a> at the Library of Congress and “discovered so much about the project that we didn’t know, that has not been made public,” and those elements inform the new suite.\u003c/p>\n\u003cfigure id=\"attachment_11600561\" class=\"wp-caption alignright\" style=\"max-width: 531px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno.jpg\" alt=\"Valerie Troutt.\" width=\"531\" height=\"778\" class=\"size-full wp-image-11600561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno.jpg 531w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/ValerieTroutt.JamesBarryKno-410x600.jpg 410w\" sizes=\"(max-width: 531px) 100vw, 531px\">\u003cfigcaption class=\"wp-caption-text\">Valerie Troutt. \u003ccite>(Photo: James Barry Knox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A ‘universal synagogue’\u003c/h2>\n\u003cp>Violence afflicting black communities, from inside and outside, is the central concern of choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/nicole-klaymoon/\">Embodiment Project\u003c/a>, which presents “\u003ca href=\"http://ybgfestival.org/event/embodiment-project/\">Chalk Outlines\u003c/a>” on June 11 at \u003ca href=\"http://ybgfestival.org\">Yerba Buena Gardens\u003c/a>. Featuring original music by soul/jazz singer \u003ca href=\"http://www.valerietrouttprojects.com\">\u003cstrong>Valerie Troutt\u003c/strong>\u003c/a> performed by her vocal ensemble MoonCandy, “Chalk Outlines” is an outgrowth of the hip-hop dance company’s mission to bring various street dance forms to new audiences.\u003c/p>\n\u003cp>Much like Jang and Brown cite the influence of Roach, Troutt credits as inspiration the power of traditional African-American forms from \u003ca href=\"http://www.culturalheritagechoir.com\">Linda Tillery\u003c/a> and Melanie DeMore. “It’s like Amiri Baraka said, if you trace the music of a people, you know where you’ve been and where you’re going,” Troutt says. “Working with Nicole Klaymoon, we are using elements of folk, percussion and voice that’s reminiscent of a chain gang, the gospel choir, and mourning mothers, all those kinds of sounds. But also house music, because the nightclub is a church, our universal synagogue for people to come and get free.”\u003c/p>\n\u003cfigure id=\"attachment_11600562\" class=\"wp-caption alignright\" style=\"max-width: 572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/RupaBooth.jpg\" alt=\"Rupa Marya.\" width=\"572\" height=\"800\" class=\"size-full wp-image-11600562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth.jpg 572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/RupaBooth-429x600.jpg 429w\" sizes=\"(max-width: 572px) 100vw, 572px\">\u003cfigcaption class=\"wp-caption-text\">Rupa Marya. \u003ccite>(Photo: Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Writing the songs of unity\u003c/h2>\n\u003cp>Music was a vital force on the front lines of the recent demonstrations supporting the Frisco Five, a struggle that brought musician/physician \u003ca href=\"http://www.theaprilfishes.com/rupa.html\">\u003cstrong>Rupa Marya\u003c/strong>\u003c/a> directly into the fray. Though she engaged in the protests as a doctor, spearheading the efforts to monitor the health of the hunger strikers — including rappers Equipto, Selassie and Ike Plump — the experience inevitably fed back into her ever-evolving creative work as a composer, performer, and bandleader of the April Fishes.\u003c/p>\n\u003cp>Marya’s currently looking for a sound that embodies social change, a sound “that could make people feel comfortable in the same room,” she says. “It’s remarkable how segregated San Francisco is. For me, watching white friends stepping in solidarity with black and brown friends has been so powerful. What I hear in my mind is music that reaches across typical genre forms, a black music, Latino music, white music, Asian music that’s going to allow us to come to from a place of identity and move past it and form alliances.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"http://www.soundandsavor.com/#!meet-phil/h9nb8\">Philip Gelb\u003c/a> was a young music student in Tallahassee, Fla., he had an unusual friend and mentor: the great jazz musician Sam Rivers.\u003c/p>\n\u003cp>Rivers, who died in 2011, was known for his improvisational style, and for the gatherings he would host in the '70s at Studio Rivbea, a New York City loft where musicians would come together and just, well, jam. He wanted to create a space for artists to experiment.\u003c/p>\n\u003cp>https://youtu.be/J2lnek_Z_Zs\u003c/p>\n\u003cp>Decades later, Gelb, 51, is now a professional chef, though he still teaches music. And for the past 10 years, he's been creating a culinary version of those jam sessions at his own industrial loft in West Oakland, Calif. As often as several times a month, he hosts an underground supper club called \"\u003ca href=\"http://www.soundandsavor.com/\">Sound & Savor\u003c/a>\" — intimate dinner concerts for about 20 paying guests. The multi-course menu is an act of improvisation, and so too, in a sense, is the entertainment served up by top-flight musicians who often play larger venues.\u003c/p>\n\u003cp>Gelb plays the \u003cem>shakuhachi,\u003c/em> a Japanese bamboo flute. Though he once toured with leading musicians, including trailblazing composer \u003ca href=\"http://www.nytimes.com/2012/08/12/arts/music/the-composer-pauline-oliveros-stays-busy-at-80.html?_r=0\">Pauline Oliveros\u003c/a>, he couldn't make ends meet. \"And the only other skill I had was cooking,\" he says. So, along with a catering business, he started the dinner and concert series, inviting his musician friends to play.\u003c/p>\n\u003cfigure id=\"attachment_109629\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-400x500.jpg\" alt='For the last decade, musician and vegan chef Philip Gelb has hosted an underground supper club called \"Sound & Savor\" — intimate dinner concerts for about 20 paying guests — in his loft in West Oakland, Calif.' width=\"400\" height=\"500\" class=\"size-thumbnail wp-image-109629\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-768x960.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">For the last decade, musician and vegan chef Philip Gelb has hosted an underground supper club called \"Sound & Savor\" — intimate dinner concerts for about 20 paying guests — in his loft in West Oakland, Calif. \u003ccite>(Hannah Kaminsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"For many of the musicians who have performed on my series, improvisation is an integral aspect of their approach to creating music,\" Gelb writes in his new cookbook,\u003cem> \u003ca href=\"http://www.soundandsavor.com/#!books/l1ji0\">Notes From An Underground Restaurant\u003c/a>.\u003c/em> As a musician, he's always been intrigued by the idea of composing in real time. \"And this interest extends to the kitchen.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The performers featured on the series over the years aren't household names, but many are innovative figures who have challenged boundaries within their genres. They include people like double bassist Mark Dresser and saxophonist Oliver Lake – who also played at Sam Rivers' Studio Rivbea sessions. Booking Lake was an act of serendipity, Gelb says.\u003c/p>\n\u003cp>\"One time a woman was at [my] cooking class and she's like, 'Oh, my friend Oliver Lake is going to be in town. Would you like to have him play here?' My jaw just dropped.\"\u003c/p>\n\u003cp>https://youtu.be/GWwHvOCsyQk\u003c/p>\n\u003cp>Sometimes, the meal is directly inspired by the artist. For instance, when musician Stuart Dempster played, Gelb whipped up multi-layered dishes as an homage to the trombonist's multi-layered sound.\u003c/p>\n\u003cp>\"When I first heard Stuart, it was one of his solo records, recorded in a big cathedral with a 13-second reverb,\" Gelb explains. \"What he was doing on that recording was playing a note, letting it resonate and then just stacking up layers on top of it, all using layers of natural reverb. ... We had an eggplant Napoleon with five different treatments of eggplants, all stacked on top of each other.\"\u003c/p>\n\u003cp>Other times, an ingredient itself becomes Gelb's muse, such as peaches grown on the Central Valley, Calif., farm of \u003ca href=\"http://www.npr.org/sections/thesalt/2015/03/14/390148229/the-family-peach-farm-that-became-a-symbol-of-the-food-revolution\">Mas Masumoto\u003c/a>, a pioneering figure in the organic agriculture movement who first gained fame for his eloquent defense of heirloom peaches. \"I became a huge fan of him as a person ... and then I got to taste his peaches,\" Gelb says. Now, each summer, Gelb hosts a dinner in which each course features Masumoto's peaches – raw, roasted, grilled and served over salad, alcohol-marinated, in teas and smoothies.\u003c/p>\n\u003cp>At just 750 square feet, the loft is an intimate space. The dinners and music playing take place in the kitchen, so cooking becomes part of the performance. The bassist Dresser once performed a solo while apples baked in an oven right behind him, Gelb says.\u003c/p>\n\u003cp>https://youtu.be/w1FCv5ltMPY\u003c/p>\n\u003cp>Gelb is a vegan, and so are all of his locally sourced menus, which share with the entertainment the ethos of improvisation. For instance, a pistachio-matcha ice cream was born of a desire to blend two ingredients with the same beautiful green hue, he says. Then he and his sous chef tossed in some dried cherries. It's \"spur of the moment ideas that I would refer to as improvisation,\" he says. Just as musicians aren't expected to play a certain piece the same way each time, he says, chefs should feel free to riff off recipes.\u003c/p>\n\u003cp>Why this approach to cooking? \"Most chefs, when they're young, they're in the kitchen working with great chefs. I was on stage working with great musicians. And I went out to eat with them,\" says Gelb.\u003c/p>\n\u003cfigure id=\"attachment_109631\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-400x500.jpg\" alt=\"San Francisco Bay Area jazz saxophonist Howard Wiley performs at a Sound & Savor event.\" width=\"400\" height=\"500\" class=\"size-thumbnail wp-image-109631\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-768x960.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Bay Area jazz saxophonist Howard Wiley performs at a Sound & Savor event. \u003ccite>(Hannah Kaminsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gelb's vegan repertoire is wide-ranging: His cookbook runs the gamut from Mexican to Chinese to Jewish soul food. He says he approaches cuisines as he does compositions: He immerses himself in \"as much tradition as I can, and then throw it out the window and go from there.\"\u003c/p>\n\u003cp>Over the years, Gelb has hosted close to 100 musicians from more than 14 countries and many different genres: from \u003ca href=\"http://www.yangjingmusic.com/index.php/reviewscvs/cv-english\">Yang Jing\u003c/a>, a soloist on the Chinese lute (or pipa), to Japanese-American rapper Shingo Annen. Gelb estimates well over 1,000 guests have paid for the pleasure of dinner and a show at his loft. (Tickets usually go for about $60 each.)\u003c/p>\n\u003cp>\"Underground restaurants have been around for a long time,\" Gelb says. \"So have house concerts. The idea of blending them is relatively new, especially at the level we're doing it.\"\u003c/p>\n\u003cp>What does he hope his guests take away?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>'A smile, I hope, a full heart, a full belly, a full mind. We want these experiences to be all encompassing. Of course, you have to eat to survive. But every culture has music, which says something. ... We need it. ... We're trying to feed not just the body but the spirit as well.\"\u003cbr>\n\u003cem>\u003cbr>\nCopyright 2016\u003ca href=\"http://www.npr.org/\" target=\"_blank\"> NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://www.soundandsavor.com/#!meet-phil/h9nb8\">Philip Gelb\u003c/a> was a young music student in Tallahassee, Fla., he had an unusual friend and mentor: the great jazz musician Sam Rivers.\u003c/p>\n\u003cp>Rivers, who died in 2011, was known for his improvisational style, and for the gatherings he would host in the '70s at Studio Rivbea, a New York City loft where musicians would come together and just, well, jam. He wanted to create a space for artists to experiment.\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/J2lnek_Z_Zs'\n title='//www.youtube.com/embed/J2lnek_Z_Zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades later, Gelb, 51, is now a professional chef, though he still teaches music. And for the past 10 years, he's been creating a culinary version of those jam sessions at his own industrial loft in West Oakland, Calif. As often as several times a month, he hosts an underground supper club called \"\u003ca href=\"http://www.soundandsavor.com/\">Sound & Savor\u003c/a>\" — intimate dinner concerts for about 20 paying guests. The multi-course menu is an act of improvisation, and so too, in a sense, is the entertainment served up by top-flight musicians who often play larger venues.\u003c/p>\n\u003cp>Gelb plays the \u003cem>shakuhachi,\u003c/em> a Japanese bamboo flute. Though he once toured with leading musicians, including trailblazing composer \u003ca href=\"http://www.nytimes.com/2012/08/12/arts/music/the-composer-pauline-oliveros-stays-busy-at-80.html?_r=0\">Pauline Oliveros\u003c/a>, he couldn't make ends meet. \"And the only other skill I had was cooking,\" he says. So, along with a catering business, he started the dinner and concert series, inviting his musician friends to play.\u003c/p>\n\u003cfigure id=\"attachment_109629\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-400x500.jpg\" alt='For the last decade, musician and vegan chef Philip Gelb has hosted an underground supper club called \"Sound & Savor\" — intimate dinner concerts for about 20 paying guests — in his loft in West Oakland, Calif.' width=\"400\" height=\"500\" class=\"size-thumbnail wp-image-109629\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcro-_custom-eba1a6d73d33ec7b640f0180ed71f2cb13190e27-s800-c85-768x960.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">For the last decade, musician and vegan chef Philip Gelb has hosted an underground supper club called \"Sound & Savor\" — intimate dinner concerts for about 20 paying guests — in his loft in West Oakland, Calif. \u003ccite>(Hannah Kaminsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"For many of the musicians who have performed on my series, improvisation is an integral aspect of their approach to creating music,\" Gelb writes in his new cookbook,\u003cem> \u003ca href=\"http://www.soundandsavor.com/#!books/l1ji0\">Notes From An Underground Restaurant\u003c/a>.\u003c/em> As a musician, he's always been intrigued by the idea of composing in real time. \"And this interest extends to the kitchen.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The performers featured on the series over the years aren't household names, but many are innovative figures who have challenged boundaries within their genres. They include people like double bassist Mark Dresser and saxophonist Oliver Lake – who also played at Sam Rivers' Studio Rivbea sessions. Booking Lake was an act of serendipity, Gelb says.\u003c/p>\n\u003cp>\"One time a woman was at [my] cooking class and she's like, 'Oh, my friend Oliver Lake is going to be in town. Would you like to have him play here?' My jaw just dropped.\"\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/GWwHvOCsyQk'\n title='//www.youtube.com/embed/GWwHvOCsyQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, the meal is directly inspired by the artist. For instance, when musician Stuart Dempster played, Gelb whipped up multi-layered dishes as an homage to the trombonist's multi-layered sound.\u003c/p>\n\u003cp>\"When I first heard Stuart, it was one of his solo records, recorded in a big cathedral with a 13-second reverb,\" Gelb explains. \"What he was doing on that recording was playing a note, letting it resonate and then just stacking up layers on top of it, all using layers of natural reverb. ... We had an eggplant Napoleon with five different treatments of eggplants, all stacked on top of each other.\"\u003c/p>\n\u003cp>Other times, an ingredient itself becomes Gelb's muse, such as peaches grown on the Central Valley, Calif., farm of \u003ca href=\"http://www.npr.org/sections/thesalt/2015/03/14/390148229/the-family-peach-farm-that-became-a-symbol-of-the-food-revolution\">Mas Masumoto\u003c/a>, a pioneering figure in the organic agriculture movement who first gained fame for his eloquent defense of heirloom peaches. \"I became a huge fan of him as a person ... and then I got to taste his peaches,\" Gelb says. Now, each summer, Gelb hosts a dinner in which each course features Masumoto's peaches – raw, roasted, grilled and served over salad, alcohol-marinated, in teas and smoothies.\u003c/p>\n\u003cp>At just 750 square feet, the loft is an intimate space. The dinners and music playing take place in the kitchen, so cooking becomes part of the performance. The bassist Dresser once performed a solo while apples baked in an oven right behind him, Gelb says.\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/w1FCv5ltMPY'\n title='//www.youtube.com/embed/w1FCv5ltMPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gelb is a vegan, and so are all of his locally sourced menus, which share with the entertainment the ethos of improvisation. For instance, a pistachio-matcha ice cream was born of a desire to blend two ingredients with the same beautiful green hue, he says. Then he and his sous chef tossed in some dried cherries. It's \"spur of the moment ideas that I would refer to as improvisation,\" he says. Just as musicians aren't expected to play a certain piece the same way each time, he says, chefs should feel free to riff off recipes.\u003c/p>\n\u003cp>Why this approach to cooking? \"Most chefs, when they're young, they're in the kitchen working with great chefs. I was on stage working with great musicians. And I went out to eat with them,\" says Gelb.\u003c/p>\n\u003cfigure id=\"attachment_109631\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-400x500.jpg\" alt=\"San Francisco Bay Area jazz saxophonist Howard Wiley performs at a Sound & Savor event.\" width=\"400\" height=\"500\" class=\"size-thumbnail wp-image-109631\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-400x500.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/05/soundandsavornewcrop2_custom-793f6b6f594047b67f95194c18b054719600091c-s800-c85-768x960.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Bay Area jazz saxophonist Howard Wiley performs at a Sound & Savor event. \u003ccite>(Hannah Kaminsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gelb's vegan repertoire is wide-ranging: His cookbook runs the gamut from Mexican to Chinese to Jewish soul food. He says he approaches cuisines as he does compositions: He immerses himself in \"as much tradition as I can, and then throw it out the window and go from there.\"\u003c/p>\n\u003cp>Over the years, Gelb has hosted close to 100 musicians from more than 14 countries and many different genres: from \u003ca href=\"http://www.yangjingmusic.com/index.php/reviewscvs/cv-english\">Yang Jing\u003c/a>, a soloist on the Chinese lute (or pipa), to Japanese-American rapper Shingo Annen. Gelb estimates well over 1,000 guests have paid for the pleasure of dinner and a show at his loft. (Tickets usually go for about $60 each.)\u003c/p>\n\u003cp>\"Underground restaurants have been around for a long time,\" Gelb says. \"So have house concerts. The idea of blending them is relatively new, especially at the level we're doing it.\"\u003c/p>\n\u003cp>What does he hope his guests take away?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>'A smile, I hope, a full heart, a full belly, a full mind. We want these experiences to be all encompassing. Of course, you have to eat to survive. But every culture has music, which says something. ... We need it. ... We're trying to feed not just the body but the spirit as well.\"\u003cbr>\n\u003cem>\u003cbr>\nCopyright 2016\u003ca href=\"http://www.npr.org/\" target=\"_blank\"> NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/05/TDL20160520.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=bZrrYr2Tr5Y\u003c/p>\n\u003cp>\u003cstrong>May 21:\u003c/strong> The \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Malcolm X Jazz Festival \u003c/a>features some great local performers on three stages of dance, spoken word, and music. The festival is celebrating the 50th anniversary of the founding of the Black Panther Party in Oakland, and you can bet you’ll hear about that from poet and jazz singer Avotcja (she’s reviving her “Oaktown Blues”), and from writers Kamau Daoud and \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener\">Chinaka Hodge\u003c/a>. There’s also music out of NOLA from Mr. Blazio and his New Orleans Second Line Band (displaced from New Orleans after Katrina), plus DJ Davey D, dance from \u003ca href=\"http://www.congolesecamp.org/CDDW/node/236\" target=\"_blank\" rel=\"noopener\">Fua Dia Congo\u003c/a>, and more. Details for the Malcolm X Jazz Festival at Oakland’s \u003ca href=\"https://localwiki.org/oakland/San_Antonio_Park\" target=\"_blank\" rel=\"noopener\">San Antonio Park \u003c/a>are \u003ca href=\"https://www.facebook.com/EastSideArtsAlliance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11597687\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SF-Porchfest.png\" alt=\"SF Porchfest\" width=\"602\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SF-Porchfest.png 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SF-Porchfest-400x325.png 400w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">SF Porchfest \u003ccite>(Photo: Courtesy Porchfest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">SF Porchfest\u003c/a> is back for a second year. This free (Cheap Thrill!) community building event puts musicians in backyards, garages, and on front steps all over the Mission District. If you don’t like one band, wander down the street, meet some neighbors, and check out another show. Deadbeat Dads, Dirty Cello, Claudia and Friends, and Los Pereguinos Còsmicos are among the featured bands. Details for SF Porchfest’s day of music on Mission District stoops are \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jCAgM_G8gHA\u003c/p>\n\u003cp>\u003cstrong>Through June 12:\u003c/strong> \u003ca href=\"https://en.wikipedia.org/wiki/On_a_Clear_Day_You_Can_See_Forever\" target=\"_blank\" rel=\"noopener\">\u003cem>On a Clear Day You Can See Forever\u003c/em>\u003c/a> was both a lovely earworm of a song, and a mixed success as a stage musical by Burton Lane and Alan Jay Lerner. Now New Conservatory Theater is reviving a 2011 rewrite of the show by Peter Parnell. It mixes some elements of the original Broadway and the later film productions, but most significantly gives the show a gay lead, replacing the reincarnated heroine Daisy (played by Barbara Harris on Broadway and Barbara Streisand in the movie) with David. If anyone can pull this off, it’s The New Conservatory Theater. Details for their production \u003ca href=\"http://www.nctcsf.org/2015-16-season/on-a-clear-day-you-can-see-forever\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z775tHpWDNw\u003c/p>\n\u003cp>\u003cstrong>Through June 18:\u003c/strong> Meanwhile, Theatre Rhinoceros, San Francisco’s “Live Professional Queer Theater” is doing a version of \u003cem>Present Laughter\u003c/em>… Noel Coward’s semi-autobiographical comedy about an actor having a midlife crisis because he’s turning 40. (David and I laugh at midlife crises before the age of 60). Theater Rhino is making the most of the subtext for this show, that the hero “thinks the world of himself, and so do all his girlfriends and boyfriends.” Details for Present Laughter at Theatre Rhino are \u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqmz4gE15cU\u003c/p>\n\u003cp>\u003cstrong>May 21:\u003c/strong> \u003ca href=\"http://www.askonasholt.co.uk/artists/singers/tenor/ian-bostridge\" target=\"_blank\" rel=\"noopener\">Ian Bostridge\u003c/a> literally wrote the book on Schubert, a dissection of his most famous song cycle, \u003ca href=\"http://www.amazon.com/Schuberts-Winter-Journey-Anatomy-Obsession/dp/030796163X\" target=\"_blank\" rel=\"noopener\">\u003cem>Winterreise\u003c/em>\u003c/a>, and he’ll do a recital of Schubert Lieder Saturday at Herbst Theater. It’s a great example of the kind of intimate performance \u003ca href=\"http://www.performances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> has perfected under founding President Ruth Felt. She’s stepping down in August, to be replaced by Melanie Smith, former director for the \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girl’s Chorus.\u003c/a> “Over the years,” Smith told me, “San Francisco Performances has cultivated and developed an audience with very sophisticated ears, passionate about these forms of music. They love it. They become sort of groupies for some of these artists. And I think that’s unique in this city still.” Details for the Ian Bostridge recital are \u003ca href=\"http://www.performances.org/index.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11597688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11597688\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-800x533.jpeg\" alt=\"Attendees enter Oakland City Hall for the first annual Oakland Book Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-1180x786.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees enter Oakland City Hall for the first annual Oakland Book Festival \u003ccite>(Photo: Courtesy Oakland Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 22:\u003c/strong> The Oakland Book Festival (another Cheap Thrill! It’s free) is back Sunday for a second year. The theme this year is labor, allowing for discussion of everything from the gig economy, as Uber moves its headquarters in up the street, to a panel called “Working in Silicon Valley.” Expect 200 writers including locals like Mary Roach, Greil Marcus, Frank Chin, and Arlie Russell Hochschild. You’ll find children’s book authors at Laurel Books across the street. Details on all the panels and readings are \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NdB296pKdPI\u003c/p>\n\u003cp>\u003cstrong>May 27-29:\u003c/strong> BottleRock Napa Valley is a week away, but it’s by no means too soon to plan how you’re getting there and what bands to catch. We’re partial to the pop grooves of \u003ca href=\"http://www.grouplovemusic.com/\" target=\"_blank\" rel=\"noopener\">Grouplove \u003c/a>(above), guitar shredder Buddy Guy, Oakland’s \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, LA’s \u003ca href=\"http://ozomatli.com/\" target=\"_blank\" rel=\"noopener\">Ozomatli\u003c/a>, Brooklyn’s \u003ca href=\"http://pimpsofjoytime.com/\" target=\"_blank\" rel=\"noopener\">Pimps of Joytown\u003c/a>, The \u003ca href=\"http://thepharcyde.com/\" target=\"_blank\" rel=\"noopener\">Pharcyde,\u003c/a> the old master \u003ca href=\"http://www.steviewonder.net/\" target=\"_blank\" rel=\"noopener\">Stevie Wonder\u003c/a>, and the classic goofball of \u003ca href=\"http://cheechandchong.com/\" target=\"_blank\" rel=\"noopener\">Cheech and Chong\u003c/a>. But note that BottleRock is sold out, so your best chance to catch some of these bands, and in far more intimate venues, is at the \u003ca href=\"http://www.bottlerocknapavalley.com/aftershows/\" target=\"_blank\" rel=\"noopener\">“aftershows.”\u003c/a> We’re thinking retro rockers \u003ca href=\"http://thestruts.rtouring.com/\" target=\"_blank\" rel=\"noopener\">The Struts \u003c/a>playing \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose one night, and joining Grouplove at the \u003ca href=\"http://www.nvoh.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Opera House\u003c/a> the next; The Pharcyde at \u003ca href=\"http://www.uptowntheatrenapa.com/\" target=\"_blank\" rel=\"noopener\">Napa’s Uptown Theatre;\u003c/a> \u003ca href=\"http://www.sanferminband.com/#news-preview\" target=\"_blank\" rel=\"noopener\">San Fermin \u003c/a>and son of a preacher man \u003ca href=\"http://sonlittlemusic.net/\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a> both do shows at \u003ca href=\"http://www.silosnapa.com/\" target=\"_blank\" rel=\"noopener\">Silo’s Club \u003c/a>in Napa, and lots more. “Aftershow” details are \u003ca href=\"http://www.bottlerocknapavalley.com/aftershows/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 21: \u003c/strong>One more Cheap Thrill! Luis Valdez’s \u003ca href=\"http://elteatrocampesino.com/\" target=\"_blank\" rel=\"noopener\">El Teatro Campesino \u003c/a>is staging \u003cem>The Popul Vuh, \u003c/em>the Mayan\u003cem> \u003c/em>creation myth, in a free performance in the schoolyard at \u003ca href=\"https://cces-sfusd-ca.schoolloop.com/\" target=\"_blank\" rel=\"noopener\">Cesar Chavez Elementary \u003c/a>Saturday at 2pm. How often can you see a play in Spanish, English, and Quiché? Details \u003ca href=\"http://www.brava.org/current-shows/current-shows/popol-vuh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/05/TDL20160520.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bZrrYr2Tr5Y'\n title='//www.youtube.com/embed/bZrrYr2Tr5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 21:\u003c/strong> The \u003ca href=\"http://www.eastsideartsalliance.com/\" target=\"_blank\" rel=\"noopener\">Malcolm X Jazz Festival \u003c/a>features some great local performers on three stages of dance, spoken word, and music. The festival is celebrating the 50th anniversary of the founding of the Black Panther Party in Oakland, and you can bet you’ll hear about that from poet and jazz singer Avotcja (she’s reviving her “Oaktown Blues”), and from writers Kamau Daoud and \u003ca href=\"http://chinakahodge.com/\" target=\"_blank\" rel=\"noopener\">Chinaka Hodge\u003c/a>. There’s also music out of NOLA from Mr. Blazio and his New Orleans Second Line Band (displaced from New Orleans after Katrina), plus DJ Davey D, dance from \u003ca href=\"http://www.congolesecamp.org/CDDW/node/236\" target=\"_blank\" rel=\"noopener\">Fua Dia Congo\u003c/a>, and more. Details for the Malcolm X Jazz Festival at Oakland’s \u003ca href=\"https://localwiki.org/oakland/San_Antonio_Park\" target=\"_blank\" rel=\"noopener\">San Antonio Park \u003c/a>are \u003ca href=\"https://www.facebook.com/EastSideArtsAlliance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11597687\" class=\"wp-caption aligncenter\" style=\"max-width: 602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11597687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SF-Porchfest.png\" alt=\"SF Porchfest\" width=\"602\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SF-Porchfest.png 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SF-Porchfest-400x325.png 400w\" sizes=\"(max-width: 602px) 100vw, 602px\">\u003cfigcaption class=\"wp-caption-text\">SF Porchfest \u003ccite>(Photo: Courtesy Porchfest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 21:\u003c/strong> \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">SF Porchfest\u003c/a> is back for a second year. This free (Cheap Thrill!) community building event puts musicians in backyards, garages, and on front steps all over the Mission District. If you don’t like one band, wander down the street, meet some neighbors, and check out another show. Deadbeat Dads, Dirty Cello, Claudia and Friends, and Los Pereguinos Còsmicos are among the featured bands. Details for SF Porchfest’s day of music on Mission District stoops are \u003ca href=\"http://www.sfporchfest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jCAgM_G8gHA'\n title='//www.youtube.com/embed/jCAgM_G8gHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through June 12:\u003c/strong> \u003ca href=\"https://en.wikipedia.org/wiki/On_a_Clear_Day_You_Can_See_Forever\" target=\"_blank\" rel=\"noopener\">\u003cem>On a Clear Day You Can See Forever\u003c/em>\u003c/a> was both a lovely earworm of a song, and a mixed success as a stage musical by Burton Lane and Alan Jay Lerner. Now New Conservatory Theater is reviving a 2011 rewrite of the show by Peter Parnell. It mixes some elements of the original Broadway and the later film productions, but most significantly gives the show a gay lead, replacing the reincarnated heroine Daisy (played by Barbara Harris on Broadway and Barbara Streisand in the movie) with David. If anyone can pull this off, it’s The New Conservatory Theater. Details for their production \u003ca href=\"http://www.nctcsf.org/2015-16-season/on-a-clear-day-you-can-see-forever\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z775tHpWDNw'\n title='//www.youtube.com/embed/z775tHpWDNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through June 18:\u003c/strong> Meanwhile, Theatre Rhinoceros, San Francisco’s “Live Professional Queer Theater” is doing a version of \u003cem>Present Laughter\u003c/em>… Noel Coward’s semi-autobiographical comedy about an actor having a midlife crisis because he’s turning 40. (David and I laugh at midlife crises before the age of 60). Theater Rhino is making the most of the subtext for this show, that the hero “thinks the world of himself, and so do all his girlfriends and boyfriends.” Details for Present Laughter at Theatre Rhino are \u003ca href=\"http://www.therhino.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wqmz4gE15cU'\n title='//www.youtube.com/embed/wqmz4gE15cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 21:\u003c/strong> \u003ca href=\"http://www.askonasholt.co.uk/artists/singers/tenor/ian-bostridge\" target=\"_blank\" rel=\"noopener\">Ian Bostridge\u003c/a> literally wrote the book on Schubert, a dissection of his most famous song cycle, \u003ca href=\"http://www.amazon.com/Schuberts-Winter-Journey-Anatomy-Obsession/dp/030796163X\" target=\"_blank\" rel=\"noopener\">\u003cem>Winterreise\u003c/em>\u003c/a>, and he’ll do a recital of Schubert Lieder Saturday at Herbst Theater. It’s a great example of the kind of intimate performance \u003ca href=\"http://www.performances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances\u003c/a> has perfected under founding President Ruth Felt. She’s stepping down in August, to be replaced by Melanie Smith, former director for the \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girl’s Chorus.\u003c/a> “Over the years,” Smith told me, “San Francisco Performances has cultivated and developed an audience with very sophisticated ears, passionate about these forms of music. They love it. They become sort of groupies for some of these artists. And I think that’s unique in this city still.” Details for the Ian Bostridge recital are \u003ca href=\"http://www.performances.org/index.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11597688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11597688\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-800x533.jpeg\" alt=\"Attendees enter Oakland City Hall for the first annual Oakland Book Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-1180x786.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Oakland-Book-Fest.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees enter Oakland City Hall for the first annual Oakland Book Festival \u003ccite>(Photo: Courtesy Oakland Book Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 22:\u003c/strong> The Oakland Book Festival (another Cheap Thrill! It’s free) is back Sunday for a second year. The theme this year is labor, allowing for discussion of everything from the gig economy, as Uber moves its headquarters in up the street, to a panel called “Working in Silicon Valley.” Expect 200 writers including locals like Mary Roach, Greil Marcus, Frank Chin, and Arlie Russell Hochschild. You’ll find children’s book authors at Laurel Books across the street. Details on all the panels and readings are \u003ca href=\"http://www.oaklandbookfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NdB296pKdPI'\n title='//www.youtube.com/embed/NdB296pKdPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 27-29:\u003c/strong> BottleRock Napa Valley is a week away, but it’s by no means too soon to plan how you’re getting there and what bands to catch. We’re partial to the pop grooves of \u003ca href=\"http://www.grouplovemusic.com/\" target=\"_blank\" rel=\"noopener\">Grouplove \u003c/a>(above), guitar shredder Buddy Guy, Oakland’s \u003ca href=\"http://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, LA’s \u003ca href=\"http://ozomatli.com/\" target=\"_blank\" rel=\"noopener\">Ozomatli\u003c/a>, Brooklyn’s \u003ca href=\"http://pimpsofjoytime.com/\" target=\"_blank\" rel=\"noopener\">Pimps of Joytown\u003c/a>, The \u003ca href=\"http://thepharcyde.com/\" target=\"_blank\" rel=\"noopener\">Pharcyde,\u003c/a> the old master \u003ca href=\"http://www.steviewonder.net/\" target=\"_blank\" rel=\"noopener\">Stevie Wonder\u003c/a>, and the classic goofball of \u003ca href=\"http://cheechandchong.com/\" target=\"_blank\" rel=\"noopener\">Cheech and Chong\u003c/a>. But note that BottleRock is sold out, so your best chance to catch some of these bands, and in far more intimate venues, is at the \u003ca href=\"http://www.bottlerocknapavalley.com/aftershows/\" target=\"_blank\" rel=\"noopener\">“aftershows.”\u003c/a> We’re thinking retro rockers \u003ca href=\"http://thestruts.rtouring.com/\" target=\"_blank\" rel=\"noopener\">The Struts \u003c/a>playing \u003ca href=\"http://theritzsanjose.com/\" target=\"_blank\" rel=\"noopener\">The Ritz\u003c/a> in San Jose one night, and joining Grouplove at the \u003ca href=\"http://www.nvoh.org/\" target=\"_blank\" rel=\"noopener\">Napa Valley Opera House\u003c/a> the next; The Pharcyde at \u003ca href=\"http://www.uptowntheatrenapa.com/\" target=\"_blank\" rel=\"noopener\">Napa’s Uptown Theatre;\u003c/a> \u003ca href=\"http://www.sanferminband.com/#news-preview\" target=\"_blank\" rel=\"noopener\">San Fermin \u003c/a>and son of a preacher man \u003ca href=\"http://sonlittlemusic.net/\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a> both do shows at \u003ca href=\"http://www.silosnapa.com/\" target=\"_blank\" rel=\"noopener\">Silo’s Club \u003c/a>in Napa, and lots more. “Aftershow” details are \u003ca href=\"http://www.bottlerocknapavalley.com/aftershows/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 21: \u003c/strong>One more Cheap Thrill! Luis Valdez’s \u003ca href=\"http://elteatrocampesino.com/\" target=\"_blank\" rel=\"noopener\">El Teatro Campesino \u003c/a>is staging \u003cem>The Popul Vuh, \u003c/em>the Mayan\u003cem> \u003c/em>creation myth, in a free performance in the schoolyard at \u003ca href=\"https://cces-sfusd-ca.schoolloop.com/\" target=\"_blank\" rel=\"noopener\">Cesar Chavez Elementary \u003c/a>Saturday at 2pm. How often can you see a play in Spanish, English, and Quiché? Details \u003ca href=\"http://www.brava.org/current-shows/current-shows/popol-vuh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2015,\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\"> \u003c/a>a Selena hologram was announced. If all goes according to plan, this \"walking, talking, singing, and dancing digital embodiment” of the Queen of Tejano will release new music, collaborate with new artists, and go on tour in 2018. I was against it then and I'm against it now.\u003c/p>\n\u003cp>Back then, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\">I wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"This Selena hologram isn’t being used to remind people of her greatness; we already remember. The planned new releases and duets feel like a play to make money off of someone long dead, in a way that separates itself too far from the reality that Selena was a real human being, not a commercial product or fictional figure.\u003c/p>\n\u003cp>We will always have the music she did release and footage of performances she put her everything into. Why can’t that be enough? Because we’re accustomed to wanting more and then getting it (see: binge-watching and leaked albums). Because we feel like we own our celebrities, in life and whatever comes after.\u003c/p>\n\u003cp>Death does not negotiate. It won’t heed your call for more time with someone who’s passed. And in this case, it shouldn’t. May Selena rest in peace.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_24798\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram.jpg\">\u003cimg class=\"size-thumbnail wp-image-24798\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg\" alt=\"No.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-768x432.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">No.\u003c/figcaption>\u003c/figure>\n\u003cp>Ditto all of that for Whitney Houston, whose hologram likeness was to duet with Christina Aguilera on an episode of \u003cem>The Voice\u003c/em>. The show would have gotten a significant ratings boost, but at what cost? Well, we don't have to consider that anymore because the Houston family axed the stunt at the last minute.\u003c/p>\n\u003cp>Pat Houston, executor of the late singer's estate, released a statement on the matter: \"Whitney’s legacy and her devoted fans deserve perfection. After closely viewing the performance, we decided the hologram was not ready to air.\"\u003c/p>\n\u003cp>Not being ready to air didn't stop the video from leaking though. You can watch it below, if you can stand the creepiness and the fact that the hologram looks nothing like Whitney. Let this be a warning to those who are surely already planning a hologram of Prince. We don't need it. Leave holograms to sci-fi movies and leave our departed legends alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/167239526\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2015,\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\"> \u003c/a>a Selena hologram was announced. If all goes according to plan, this \"walking, talking, singing, and dancing digital embodiment” of the Queen of Tejano will release new music, collaborate with new artists, and go on tour in 2018. I was against it then and I'm against it now.\u003c/p>\n\u003cp>Back then, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\">I wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"This Selena hologram isn’t being used to remind people of her greatness; we already remember. The planned new releases and duets feel like a play to make money off of someone long dead, in a way that separates itself too far from the reality that Selena was a real human being, not a commercial product or fictional figure.\u003c/p>\n\u003cp>We will always have the music she did release and footage of performances she put her everything into. Why can’t that be enough? Because we’re accustomed to wanting more and then getting it (see: binge-watching and leaked albums). Because we feel like we own our celebrities, in life and whatever comes after.\u003c/p>\n\u003cp>Death does not negotiate. It won’t heed your call for more time with someone who’s passed. And in this case, it shouldn’t. May Selena rest in peace.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_24798\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram.jpg\">\u003cimg class=\"size-thumbnail wp-image-24798\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg\" alt=\"No.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-768x432.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">No.\u003c/figcaption>\u003c/figure>\n\u003cp>Ditto all of that for Whitney Houston, whose hologram likeness was to duet with Christina Aguilera on an episode of \u003cem>The Voice\u003c/em>. The show would have gotten a significant ratings boost, but at what cost? Well, we don't have to consider that anymore because the Houston family axed the stunt at the last minute.\u003c/p>\n\u003cp>Pat Houston, executor of the late singer's estate, released a statement on the matter: \"Whitney’s legacy and her devoted fans deserve perfection. After closely viewing the performance, we decided the hologram was not ready to air.\"\u003c/p>\n\u003cp>Not being ready to air didn't stop the video from leaking though. You can watch it below, if you can stand the creepiness and the fact that the hologram looks nothing like Whitney. Let this be a warning to those who are surely already planning a hologram of Prince. We don't need it. Leave holograms to sci-fi movies and leave our departed legends alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[contextly_sidebar id=\"IeeHemsM2jtqydzUC4P1dY8jYsioF8d4\"]Kanye goes on another rant. We've read and heard that statement hundreds of times, but today that statement is greeted by a few surprising new words: Kanye goes on another rant \u003cem>on a fluffy, feel-good daytime talk show where nothing edgy is ever supposed to happen.\u003c/em>\u003c/p>\n\u003cp>On the agenda this time around: how he probably shouldn't have asked Mark Zuckerberg for money on a social platform that wasn't Facebook, the challenge of selling bone density machines, the power of multi-disciplinary artists, the power of dope sh*t, #OscarsSoWhite, shoes, synesthesia, Picasso being dead, Steve Jobs being dead, Walt Disney being dead, why being likable is not important, how working with Pay Less could stop bullying, why we did Michael Jackson wrong, and more.\u003c/p>\n\u003cp>Watch Kanye do what he does best and then gingerly cap things off with a “I’m sorry, daytime television. I’m sorry for the realness” :\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fu7xk2aAcDY\u003c/p>\n\u003cp>And if you want more Yeezy, watch him refuse to play a dumb game by exclaiming \"Balls, balls, balls!\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n_-4o6tE5o\u003c/p>\n\n",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/264794885″ 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>We’re at a narrow park on the Alameda side of the Oakland Estuary, with cars clanking above on the Fruitvale Bridge and boats motoring by on the water.\u003c/p>\n\u003cp>Suddenly, a man wearing a pea coat and a captain’s hat begins to speak:\u003c/p>\n\u003cfigure id=\"attachment_11594421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg\" alt=\"Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1180x646.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1920x1051.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-960x526.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If only the mud could talk,” he says, “or the water to tell who and what have come before and who and what have stayed and left their mark.”\u003c/p>\n\u003cp>Then a troupe of eight or so dancers weave and tumble out of a thin line of trees by the bridge, as a band of musicians begins a rhythmic whistling and drumming.\u003c/p>\n\u003cfigure id=\"attachment_11594420\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/017-790x600.jpg\" alt=\"Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1920x1458.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-960x729.jpg 960w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’\u003c/figcaption>\u003c/figure>\n\u003cp>They’re evoking the arrival of the Ohlone Indians to Alameda 1,400 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is a rehearsal for\u003ca href=\"http://www.islandcitywaterways.org/\" target=\"_blank\" rel=\"noopener\">\u003cem> Island City Waterways\u003c/em>\u003c/a> put on this weekend by Alameda’s \u003ca href=\"http://www.rhythmix.org/index.php?gclid=CJru7Pi95MwCFQdbfgodxVgPBg\" target=\"_blank\" rel=\"noopener\">Rhythmix Cultural Gallery.\u003c/a> Waterways is an ambitious performance that combines site-specific dance, music, and storytelling, plus an art show that celebrates the legacy of those who immigrated to the island and helped settle the area.\u003c/p>\n\u003cp>Ed Holmes is a former San Francisco Mime Troupe member and once served at the now-closed \u003ca href=\"http://alamedapointinfo.com/\" target=\"_blank\" rel=\"noopener\">Navy base in Alameda\u003c/a>. He’s the narrator for this show, “About who are the waves of immigrants. Waves,” Holmes interrupts himself to add, “are an important metaphor in this production. The waves that have come through here since day zero.”\u003c/p>\n\u003cfigure id=\"attachment_11594422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg\" alt=\"The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1920x1213.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853 \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Island City Waterways\u003c/em> will be literally moving, because during six shows Saturday and Sunday, the dancers will parade hundreds of audience members along the waterfront from the Fruitvale to the Park Street Bridge. They’ll do the same with students from Alameda schools on Friday.\u003c/p>\n\u003cp>Choreographer Kim Epifano of \u003ca href=\"http://www.epiphanydance.org/\" target=\"_blank\" rel=\"noopener\">Epiphany Productions Sonic Dance Theater\u003c/a> hopes \u003cem>Waterways\u003c/em> will nurture pride in the city for Alamedans and visitors alike. “It’s going to be an amazing journey to take,” Epifano says, “because I don’t think many people walk along that waterfront. And then it makes you want to take care of it, it’s so extraordinary.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Island City Waterways\u003c/em> takes an upbeat view of Alameda history. It’s not about the city’s current fights over soaring home prices, development and rent control. But the show’s director, Rhythmix Cultural Center Founder Janet Koike, says audiences can share their own Alameda experiences-both good and bad. “We also have a kiosk,” she said, “for people to record their own stories of how they got here.” The video booth will be at Rhythmix for the next few months, and the recordings will eventually go to the Alameda Library for preservation.\u003c/p>\n\n",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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