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"content": "\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Get out there, and get funky. It's what the Purple One would have wanted. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6SFNW5F8K9Y\u003c/p>\n\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6SFNW5F8K9Y'\n title='//www.youtube.com/embed/6SFNW5F8K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260217900″ 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>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZXnV5HzS7nA]\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>[contextly_sidebar id=”s171ftoFSpRs0FqlJ7xHJpaERp6aPEWt”]Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/260217900″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/260217900″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\u003c/p>\n\u003cp>\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/ZXnV5HzS7nA'\n title='//www.youtube.com/embed/ZXnV5HzS7nA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BIEJONYNrso\u003c/p>\n\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sjQjw-UyAX0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\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/BIEJONYNrso'\n title='//www.youtube.com/embed/BIEJONYNrso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\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/sjQjw-UyAX0'\n title='//www.youtube.com/embed/sjQjw-UyAX0'\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": "In Honor of Colbert and Sturgill: The Top 3 Waffle House Jukebox Songs",
"headTitle": "In Honor of Colbert and Sturgill: The Top 3 Waffle House Jukebox Songs | KQED",
"content": "\u003cp>Let me first declare my credentials on the subject of Waffle House jukebox songs. I have, on my arm, a prominent Waffle House tattoo. I did, after obtaining said tattoo, write to Waffle House headquarters in Atlanta, GA, asking how to purchase the Waffle House 45s from Waffle House jukeboxes in Waffle Houses across the land. I included a photo of my tattoo. I heard no response.\u003c/p>\n\u003cfigure id=\"attachment_11509659\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/WF.tattoo.jpg\" alt=\"Sure, it could use some touching up.\" width=\"1100\" height=\"436\" class=\"size-full wp-image-11509659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-400x159.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-800x317.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-768x304.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-960x381.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sure, it could use some touching up.\u003c/figcaption>\u003c/figure>\n\u003cp>Undaunted, I sought online the songs I knew from my travels through the deep south. “Special Lady at the Waffle House,” “Waffle House Family,” and the great mathematical triumph, “877,739 Ways to Eat a Hamburger at Waffle House.” After 15 years of searching, I finally found a seller on eBay who’d bought a Waffle House jukebox at auction and was willing to sell the 45s to me. He even threw in my favorite, “877,739 Ways to Eat a Hamburger at Waffle House,” for free, with a note: “Merry Christmas early.” (Thanks, \u003ca href=\"http://www.ebay.ph/usr/jukebox5964\" target=\"_blank\" rel=\"noopener\">jukebox5964\u003c/a>!)\u003c/p>\n\u003cp>So it was with great excitement that my Waffle House-tattooed self watched Stephen Colbert and Sturgill Simpson premiere a \u003ca href=\"https://www.youtube.com/watch?v=yHe_1lOJYN0\" target=\"_blank\" rel=\"noopener\">new Waffle House-themed song\u003c/a> tonight. “No Shoes, No Shirt, No Knuckleheads” hits on all Waffle House jukebox cylinders: a portrait in song of the welcoming culture at Waffle House, a description or two lifted directly from the menu (“scattered, smothered, covered”), and a gratuitous reference to that “big yellow sign.” Witness the glory below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yHe_1lOJYN0\u003c/p>\n\u003cp>Now, I know what you’re thinking: \u003cem>where can I find the other Waffle House jukebox songs?\u003c/em> Well, if you’re lucky, you might find them on the secondhand market. \u003ca href=\"https://www.discogs.com/Various-Waffle-House-Jukebox-Favorites-Vol-1/release/5655362\" target=\"_blank\" rel=\"noopener\">\u003cem>Waffle House Jukebox Favorites Vol. 1\u003c/em>\u003c/a> and \u003ca href=\"https://www.amazon.com/gp/product/B005FTRAWW?ie=UTF8&*Version*=1&*entries*=0\" target=\"_blank\" rel=\"noopener\">\u003cem>Waffle House Favorites Vol. 2\u003c/em>\u003c/a> sometimes turn up for sale on CD. As for the original vinyl 45s? Well, jukebox5964 is out of ’em, and I ain’t sellin’. But here are some of my favorites:\u003c/p>\n\u003ch3>‘877,739 Ways to Eat a Hamburger’\u003c/h3>\n\u003cp>An animated talking blues with a contagiously catchy female three-part harmony and Merle Haggard-esque pickin’ guitar riff, this song tells the story of a man who “learned a lot of combinations” while asking his waitress about every single way one can eat a hamburger at Waffle House. (In the end, he chooses to eat it plain, because country music is always about the simple stuff.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/188986538″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003ch3>‘Special Lady at the Waffle House’\u003c/h3>\n\u003cp>Note at the beginning of this ballad the reference to the “big yellow sign,” indeed, the very one tattooed on my arm. Witness also the customer’s amazement at the waitress “callin’ all those orders out.” Basically this combines \u003cem>Nighthawks at the Diner\u003c/em>-era Tom Waits with Waylon Jennings’ baritone, with very detailed lyrics about the process of ordering food at a diner. Bonus: if you play this song at a Waffle House, every waitress will hate you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCfNB_qfl9Y\u003c/p>\n\u003ch3>‘Waffle House Family’\u003c/h3>\n\u003cp>Who needs Flavor Flav as a yes-man when you’ve got a) the guy who enthusiastically repeats each line in the verse here and b) the happy choir that repeats each line in the chorus? Here, Mary Welch Rogers gives it her all in welcoming weary visitors to join the the Waffle House, where you’re “always welcome at home.” Especially if it’s 3am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lYQUB5Wb_FM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks, Waffle House, for the musical glory of your jukebox songs. \u003ca href=\"http://www.billboard.com/articles/news/956245/kid-rock-ordered-to-pay-40k-in-damages-for-waffle-house-fight\" target=\"_blank\" rel=\"noopener\">Kid Rock would surely agree\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let me first declare my credentials on the subject of Waffle House jukebox songs. I have, on my arm, a prominent Waffle House tattoo. I did, after obtaining said tattoo, write to Waffle House headquarters in Atlanta, GA, asking how to purchase the Waffle House 45s from Waffle House jukeboxes in Waffle Houses across the land. I included a photo of my tattoo. I heard no response.\u003c/p>\n\u003cfigure id=\"attachment_11509659\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/WF.tattoo.jpg\" alt=\"Sure, it could use some touching up.\" width=\"1100\" height=\"436\" class=\"size-full wp-image-11509659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-400x159.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-800x317.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-768x304.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/WF.tattoo-960x381.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sure, it could use some touching up.\u003c/figcaption>\u003c/figure>\n\u003cp>Undaunted, I sought online the songs I knew from my travels through the deep south. “Special Lady at the Waffle House,” “Waffle House Family,” and the great mathematical triumph, “877,739 Ways to Eat a Hamburger at Waffle House.” After 15 years of searching, I finally found a seller on eBay who’d bought a Waffle House jukebox at auction and was willing to sell the 45s to me. He even threw in my favorite, “877,739 Ways to Eat a Hamburger at Waffle House,” for free, with a note: “Merry Christmas early.” (Thanks, \u003ca href=\"http://www.ebay.ph/usr/jukebox5964\" target=\"_blank\" rel=\"noopener\">jukebox5964\u003c/a>!)\u003c/p>\n\u003cp>So it was with great excitement that my Waffle House-tattooed self watched Stephen Colbert and Sturgill Simpson premiere a \u003ca href=\"https://www.youtube.com/watch?v=yHe_1lOJYN0\" target=\"_blank\" rel=\"noopener\">new Waffle House-themed song\u003c/a> tonight. “No Shoes, No Shirt, No Knuckleheads” hits on all Waffle House jukebox cylinders: a portrait in song of the welcoming culture at Waffle House, a description or two lifted directly from the menu (“scattered, smothered, covered”), and a gratuitous reference to that “big yellow sign.” Witness the glory below:\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/yHe_1lOJYN0'\n title='//www.youtube.com/embed/yHe_1lOJYN0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, I know what you’re thinking: \u003cem>where can I find the other Waffle House jukebox songs?\u003c/em> Well, if you’re lucky, you might find them on the secondhand market. \u003ca href=\"https://www.discogs.com/Various-Waffle-House-Jukebox-Favorites-Vol-1/release/5655362\" target=\"_blank\" rel=\"noopener\">\u003cem>Waffle House Jukebox Favorites Vol. 1\u003c/em>\u003c/a> and \u003ca href=\"https://www.amazon.com/gp/product/B005FTRAWW?ie=UTF8&*Version*=1&*entries*=0\" target=\"_blank\" rel=\"noopener\">\u003cem>Waffle House Favorites Vol. 2\u003c/em>\u003c/a> sometimes turn up for sale on CD. As for the original vinyl 45s? Well, jukebox5964 is out of ’em, and I ain’t sellin’. But here are some of my favorites:\u003c/p>\n\u003ch3>‘877,739 Ways to Eat a Hamburger’\u003c/h3>\n\u003cp>An animated talking blues with a contagiously catchy female three-part harmony and Merle Haggard-esque pickin’ guitar riff, this song tells the story of a man who “learned a lot of combinations” while asking his waitress about every single way one can eat a hamburger at Waffle House. (In the end, he chooses to eat it plain, because country music is always about the simple stuff.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/188986538″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/188986538″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘Special Lady at the Waffle House’\u003c/h3>\n\u003cp>Note at the beginning of this ballad the reference to the “big yellow sign,” indeed, the very one tattooed on my arm. Witness also the customer’s amazement at the waitress “callin’ all those orders out.” Basically this combines \u003cem>Nighthawks at the Diner\u003c/em>-era Tom Waits with Waylon Jennings’ baritone, with very detailed lyrics about the process of ordering food at a diner. Bonus: if you play this song at a Waffle House, every waitress will hate you.\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/fCfNB_qfl9Y'\n title='//www.youtube.com/embed/fCfNB_qfl9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>‘Waffle House Family’\u003c/h3>\n\u003cp>Who needs Flavor Flav as a yes-man when you’ve got a) the guy who enthusiastically repeats each line in the verse here and b) the happy choir that repeats each line in the chorus? Here, Mary Welch Rogers gives it her all in welcoming weary visitors to join the the Waffle House, where you’re “always welcome at home.” Especially if it’s 3am.\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/lYQUB5Wb_FM'\n title='//www.youtube.com/embed/lYQUB5Wb_FM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Thanks, Waffle House, for the musical glory of your jukebox songs. \u003ca href=\"http://www.billboard.com/articles/news/956245/kid-rock-ordered-to-pay-40k-in-damages-for-waffle-house-fight\" target=\"_blank\" rel=\"noopener\">Kid Rock would surely agree\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“San Francisco Opera mourns the passing of Brian Asawa, a very talented and highly skilled countertenor,” said San Francisco Opera’s outgoing General Director David Gockley in a statement issued to staff and subsequently obtained by KQED. “He was a remarkable artist who commanded the stage with his beautiful voice and theatrical presence.”\u003c/p>\n\u003cp>Story update: The Merola Opera Program has set up a fund in Asawa’s memory to support the opera stars of the future. The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Brian Asawa Memorial Fund\u003c/a> will benefit incoming Merola opera program students, especially countertenors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Brian Asawa was in the vanguard of the countertenor resurgence which continues to this day,” said Jean Kellogg, executive director of the Merola program. “He will be greatly missed in the opera world, and by all of us at Merola in particular.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Story updated Wednesday, Apr. 20: Please scroll to end for update.\u003c/em>\u003c/p>\n\u003cp>Japanese-American opera singer Brian Asawa died Monday at Holy Cross Hospital in Mission Hills, CA after battling a long illness. He was 49.\u003c/p>\n\u003cp>Asawa, a graduate of \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a>’s Merola and Adler training programs who was well known to Bay Area audiences for his roles in productions of Benjamin Britten’s \u003cem>A Midsummer Night’s Dream\u003c/em> and Igor Stravinsky’s \u003cem>The Rake’s Progress\u003c/em> among others, possessed an unusual voice: he was a countertenor — a singer who performs very high in the male vocal range.\u003c/p>\n\u003cp>Brian Asawa joined the Merola program in 1991 and continued on with the company the following year as an Adler Fellow. Both of these opportunities came at a time when few countertenors gained entry into high-profile training programs. (The more usual male voices are tenors, baritones and basses.)\u003c/p>\n\u003cp>In 1992, Asawa gained critical attention for his role with the San Francisco Opera as Oberon, King of the Fairies in \u003cem>A Midsummer Night’s Dream\u003c/em>. He went on to perform various roles at opera houses around the world, including the Metropolitan Opera, the Paris Opera and Covent Garden. “Asawa was an electric performer, his fearless performing style supported by a voice of arresting beauty and expressivity,” were words the classical music magazine \u003cem>Opera News\u003c/em> once used to describe the singer in his prime. Asawa’s final performance on the War Memorial Opera House stage was in the 2000-01 season in Handel’s \u003cem>Semele\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the wake of Merle Haggard’s death last month, you might have read presumptive platitudes like “\u003ca href=\"https://www.facebook.com/wbrf981/posts/10153466947562401\" target=\"_blank\" rel=\"noopener\">the last of the country outlaws is gone\u003c/a>” or “\u003ca href=\"http://www.clarionledger.com/story/news/2016/04/06/marty-stuart-merle-haggard-last-kings/82708582/\" target=\"_blank\" rel=\"noopener\">country music has lost the final king from the old group of kings\u003c/a>.”\u003c/p>\n\u003cp>This, of course, is hogwash. As long as Billy Joe Shaver walks the Earth, outlaw country is alive and well.\u003c/p>\n\u003cp>Shaver, who plays Apr. 27 at Sweetwater Music Hall in Mill Valley, is the guy who wrote \u003cem>Honky Tonk Heroes\u003c/em> for Waylon Jennings. Not just the title track, but practically the whole album — the one that defined “outlaw country.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jLfkBBr-px0\u003c/p>\n\u003cp>Here’s a guy who sawed off two fingers of his right hand when he was 21 and kept playing guitar. Who got divorced twice and married three times, all to the same woman. Who once had a heart attack on stage. Who lost his son to a heroin overdose and swiftly threatened to find his drug dealer and kill him. Who, even in his late 60s, outside a bar in Texas, got in an argument and shot another man in the face. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live and on stage, Shaver can sing about drinking and guns and motorcycles one minute, and break your heart the next with a tender ballad like “I’m Just an Old Lump of Coal (But I’m Gonna Be a Diamond Someday).” He’s full of incredible stories that he tells between songs, and his recent album \u003cem>Long in the Tooth\u003c/em> is among his best — a reflective album with a whole lotta fire beneath it. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DOwulwrBB-k\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And while Merle Haggard wasn’t actually the “last of the country greats,” Shaver is nonetheless part of a sadly dying breed. All the more reason to catch him live when he plays Wednesday, April 27, at Sweetwater Music Hall in Mill Valley. \u003ca href=\"http://www.sweetwatermusichall.com/event/1119261-billy-joe-shaver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of Merle Haggard’s death last month, you might have read presumptive platitudes like “\u003ca href=\"https://www.facebook.com/wbrf981/posts/10153466947562401\" target=\"_blank\" rel=\"noopener\">the last of the country outlaws is gone\u003c/a>” or “\u003ca href=\"http://www.clarionledger.com/story/news/2016/04/06/marty-stuart-merle-haggard-last-kings/82708582/\" target=\"_blank\" rel=\"noopener\">country music has lost the final king from the old group of kings\u003c/a>.”\u003c/p>\n\u003cp>This, of course, is hogwash. As long as Billy Joe Shaver walks the Earth, outlaw country is alive and well.\u003c/p>\n\u003cp>Shaver, who plays Apr. 27 at Sweetwater Music Hall in Mill Valley, is the guy who wrote \u003cem>Honky Tonk Heroes\u003c/em> for Waylon Jennings. Not just the title track, but practically the whole album — the one that defined “outlaw country.”\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/jLfkBBr-px0'\n title='//www.youtube.com/embed/jLfkBBr-px0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a guy who sawed off two fingers of his right hand when he was 21 and kept playing guitar. Who got divorced twice and married three times, all to the same woman. Who once had a heart attack on stage. Who lost his son to a heroin overdose and swiftly threatened to find his drug dealer and kill him. Who, even in his late 60s, outside a bar in Texas, got in an argument and shot another man in the face. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live and on stage, Shaver can sing about drinking and guns and motorcycles one minute, and break your heart the next with a tender ballad like “I’m Just an Old Lump of Coal (But I’m Gonna Be a Diamond Someday).” He’s full of incredible stories that he tells between songs, and his recent album \u003cem>Long in the Tooth\u003c/em> is among his best — a reflective album with a whole lotta fire beneath it. \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/DOwulwrBB-k'\n title='//www.youtube.com/embed/DOwulwrBB-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>And while Merle Haggard wasn’t actually the “last of the country greats,” Shaver is nonetheless part of a sadly dying breed. All the more reason to catch him live when he plays Wednesday, April 27, at Sweetwater Music Hall in Mill Valley. \u003ca href=\"http://www.sweetwatermusichall.com/event/1119261-billy-joe-shaver-mill-valley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Decades before \u003ca href=\"https://www.linesballet.org/company/alonzo-king/\">Alonzo King\u003c/a> had an inkling of his future as an internationally celebrated choreographer, he discovered the transformative power of music. Growing up in Columbus, Ohio, King served as an altar boy in St. Cyprian’s Parish, where the choir’s Gregorian chants left the communicants “drunk with devotion,” King recalls. “There was an alchemy there in the room.”\u003c/p>\n\u003cp>Since founding his San Francisco company LINES Ballet in 1984, King has made it a central mission to capture the fusion of live music and movement by collaborating with an array of extraordinary sonic explorers. Last fall, powerhouse vocalist \u003ca href=\"http://lisafischermusic.com\">Lisa Fischer\u003c/a> (a central subject of the Academy Award-winning documentary \u003cem>20 Feet From Stardom\u003c/em>) performed with LINES on “The Propelled Heart,” joining a glittering roster of King’s far-flung musical muses that over time have included tabla maestro \u003ca href=\"https://www.youtube.com/watch?v=Krm0kkZTMC4\">Zakir Hussain\u003c/a>, oud master Hamza El Din, tenor saxophone titan Pharoah Sanders, Grateful Dead percussionist Mickey Hart and Baka artists from the Central African Republic.\u003c/p>\n\u003cp>The world premiere of King’s latest choreographic sojourn takes place at \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=21144\">Yerba Buena Center for the Arts\u003c/a>, running April 21–30, when the company performs with pianist \u003ca href=\"http://www.jasonmoran.com\">Jason Moran\u003c/a> and tenor saxophonist/flutist \u003ca href=\"http://www.charleslloyd.com\">Charles Lloyd\u003c/a>. For the first week of the run (April 21–24) the duo delivers their original music live on stage, while the second week (April 27–30) features their recorded score.\u003c/p>\n\u003cfigure id=\"attachment_11496625\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-800x504.jpg\" alt=\"Charles Lloyd performs with pianist Jason Moran in Munich in early 2013. Photo by Dorothy Darr. \" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image.jpg 1120w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lloyd performs with pianist Jason Moran in Munich in early 2013. Photo by Dorothy Darr.\u003c/figcaption>\u003c/figure>\n\u003cp>A recipient of a 2010 MacArthur “Genius” Fellowship, Moran first collaborated with King on 2009’s “\u003ca href=\"https://www.youtube.com/watch?v=Y8LyHBerW6s\">Refraction\u003c/a>,” the pianist’s maiden voyage composing for dance. He connected with LINES through his wife, the vocalist, composer and actress \u003ca href=\"http://www.aliciahallmoran.com\">Alicia Hall Moran\u003c/a>, and found that King’s ability to create visual analogies for rhythmic forms provided insight into his own creative process.\u003c/p>\n\u003cp>“I was working on music for my ‘blues’ recording, \u003cem>Same Mother\u003c/em>, and Alicia read that Alonzo was also investigating the blues through contemporary ballet,” writes Moran, 41, via email. “I was overwhelmed during the performance. The company was superb and the music was divine. One score was by Pharaoh Sanders, and the other by Zakir Hussain. Alonzo was able to see and hear the common language in the music, driven by rhythm and spirituality.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new ballet, “Sand,” is a 10-part evening-length work created for the company’s 12 dancers, inspired by the duo’s contrasting but complimentary sensibilities. At 78, Lloyd is one of jazz’s most celebrated saxophonists, an NEA Jazz Master who has been a major force since replacing Eric Dolphy in drummer Chico Hamilton’s popular chamber jazz quintet of the early 1960s. He put his blues-steeped Memphis upbringing to use touring and recording with Cannonball Adderley in the mid 1960s, and attained rock-star status when his 1967 album \u003cem>Forest Flower: Charles Lloyd at Monterey\u003c/em> (Atlantic) became a massive hit. (His quartet with pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette had by that time already connected with young audiences at the Fillmore, where promoter Bill Graham’s adventurous booking often paired jazz acts with popular rock bands.)\u003c/p>\n\u003cp>Moran joined Lloyd’s quartet about a decade ago, bringing a spiky intensity and earthy lyricism to the saxophonist’s music. While Moran still considers Lloyd a mentor, the duo’s latest album is a striking co-led project, \u003cem>Hagar’s Song\u003c/em> (ECM). King was drawn to the protean nature of their musical conversation, “this amazing wizardry and power and ability to turn the corner and bring out a new shape, a new texture that’s different from where they were,” he says.\u003c/p>\n\u003cp>“You never know who will lead, who will follow, or who will be quiet,” King continues. “They allow room to develop the conversation, and there’s great love and respect between them. As starkly different as they seem, there’s a baseline of harmony, balance and peace that reoccurs, so in a way it’s like the gravity of the ocean. The ocean is huge and immense, and even when there’s a storm and the surface is thrashed with waves, the ocean itself is still calm underneath with a weight and profundity.”\u003c/p>\n\u003cp>Moran traces his interest in exploring the confluence of jazz and movement to his formative years on the New York scene, and experiences like witnessing a performance by panther-like pianist Cecil Taylor with Japanese dancer Min Takata. As a resident artistic director for the opening seasons of the SFJAZZ Center, he presented a series of concerts that put dance and movement in the foreground — from his Fats Waller dance party to his collaboration providing live accompaniment to skateboarders navigating a miniramp erected in front of the stage.\u003c/p>\n\u003cp>“Jazz has always been about the movement, the relationship to the body,” Moran emphasizes. “The rhythms shake the room, thus shaking the world. Skateboarders, on the other hand, create extremely graceful ways of interacting with stationary objects. It’s magical, and as a former skater, I look for that grace on the piano… It’s an ongoing process, and as my body ages, I’m aware of how I feel music in the body, and my relationship to the piano continues to shift.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alonzo King’s LINES Ballet, with the music of Charles Lloyd and Jason Moran, appears at the Yerba Buena Center for the Arts in a series of eight performances running April 21–30. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=21144\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decades before \u003ca href=\"https://www.linesballet.org/company/alonzo-king/\">Alonzo King\u003c/a> had an inkling of his future as an internationally celebrated choreographer, he discovered the transformative power of music. Growing up in Columbus, Ohio, King served as an altar boy in St. Cyprian’s Parish, where the choir’s Gregorian chants left the communicants “drunk with devotion,” King recalls. “There was an alchemy there in the room.”\u003c/p>\n\u003cp>Since founding his San Francisco company LINES Ballet in 1984, King has made it a central mission to capture the fusion of live music and movement by collaborating with an array of extraordinary sonic explorers. Last fall, powerhouse vocalist \u003ca href=\"http://lisafischermusic.com\">Lisa Fischer\u003c/a> (a central subject of the Academy Award-winning documentary \u003cem>20 Feet From Stardom\u003c/em>) performed with LINES on “The Propelled Heart,” joining a glittering roster of King’s far-flung musical muses that over time have included tabla maestro \u003ca href=\"https://www.youtube.com/watch?v=Krm0kkZTMC4\">Zakir Hussain\u003c/a>, oud master Hamza El Din, tenor saxophone titan Pharoah Sanders, Grateful Dead percussionist Mickey Hart and Baka artists from the Central African Republic.\u003c/p>\n\u003cp>The world premiere of King’s latest choreographic sojourn takes place at \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=21144\">Yerba Buena Center for the Arts\u003c/a>, running April 21–30, when the company performs with pianist \u003ca href=\"http://www.jasonmoran.com\">Jason Moran\u003c/a> and tenor saxophonist/flutist \u003ca href=\"http://www.charleslloyd.com\">Charles Lloyd\u003c/a>. For the first week of the run (April 21–24) the duo delivers their original music live on stage, while the second week (April 27–30) features their recorded score.\u003c/p>\n\u003cfigure id=\"attachment_11496625\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-800x504.jpg\" alt=\"Charles Lloyd performs with pianist Jason Moran in Munich in early 2013. Photo by Dorothy Darr. \" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Moran-and-Lloyd-image.jpg 1120w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lloyd performs with pianist Jason Moran in Munich in early 2013. Photo by Dorothy Darr.\u003c/figcaption>\u003c/figure>\n\u003cp>A recipient of a 2010 MacArthur “Genius” Fellowship, Moran first collaborated with King on 2009’s “\u003ca href=\"https://www.youtube.com/watch?v=Y8LyHBerW6s\">Refraction\u003c/a>,” the pianist’s maiden voyage composing for dance. He connected with LINES through his wife, the vocalist, composer and actress \u003ca href=\"http://www.aliciahallmoran.com\">Alicia Hall Moran\u003c/a>, and found that King’s ability to create visual analogies for rhythmic forms provided insight into his own creative process.\u003c/p>\n\u003cp>“I was working on music for my ‘blues’ recording, \u003cem>Same Mother\u003c/em>, and Alicia read that Alonzo was also investigating the blues through contemporary ballet,” writes Moran, 41, via email. “I was overwhelmed during the performance. The company was superb and the music was divine. One score was by Pharaoh Sanders, and the other by Zakir Hussain. Alonzo was able to see and hear the common language in the music, driven by rhythm and spirituality.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new ballet, “Sand,” is a 10-part evening-length work created for the company’s 12 dancers, inspired by the duo’s contrasting but complimentary sensibilities. At 78, Lloyd is one of jazz’s most celebrated saxophonists, an NEA Jazz Master who has been a major force since replacing Eric Dolphy in drummer Chico Hamilton’s popular chamber jazz quintet of the early 1960s. He put his blues-steeped Memphis upbringing to use touring and recording with Cannonball Adderley in the mid 1960s, and attained rock-star status when his 1967 album \u003cem>Forest Flower: Charles Lloyd at Monterey\u003c/em> (Atlantic) became a massive hit. (His quartet with pianist Keith Jarrett, bassist Cecil McBee and drummer Jack DeJohnette had by that time already connected with young audiences at the Fillmore, where promoter Bill Graham’s adventurous booking often paired jazz acts with popular rock bands.)\u003c/p>\n\u003cp>Moran joined Lloyd’s quartet about a decade ago, bringing a spiky intensity and earthy lyricism to the saxophonist’s music. While Moran still considers Lloyd a mentor, the duo’s latest album is a striking co-led project, \u003cem>Hagar’s Song\u003c/em> (ECM). King was drawn to the protean nature of their musical conversation, “this amazing wizardry and power and ability to turn the corner and bring out a new shape, a new texture that’s different from where they were,” he says.\u003c/p>\n\u003cp>“You never know who will lead, who will follow, or who will be quiet,” King continues. “They allow room to develop the conversation, and there’s great love and respect between them. As starkly different as they seem, there’s a baseline of harmony, balance and peace that reoccurs, so in a way it’s like the gravity of the ocean. The ocean is huge and immense, and even when there’s a storm and the surface is thrashed with waves, the ocean itself is still calm underneath with a weight and profundity.”\u003c/p>\n\u003cp>Moran traces his interest in exploring the confluence of jazz and movement to his formative years on the New York scene, and experiences like witnessing a performance by panther-like pianist Cecil Taylor with Japanese dancer Min Takata. As a resident artistic director for the opening seasons of the SFJAZZ Center, he presented a series of concerts that put dance and movement in the foreground — from his Fats Waller dance party to his collaboration providing live accompaniment to skateboarders navigating a miniramp erected in front of the stage.\u003c/p>\n\u003cp>“Jazz has always been about the movement, the relationship to the body,” Moran emphasizes. “The rhythms shake the room, thus shaking the world. Skateboarders, on the other hand, create extremely graceful ways of interacting with stationary objects. It’s magical, and as a former skater, I look for that grace on the piano… It’s an ongoing process, and as my body ages, I’m aware of how I feel music in the body, and my relationship to the piano continues to shift.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alonzo King’s LINES Ballet, with the music of Charles Lloyd and Jason Moran, appears at the Yerba Buena Center for the Arts in a series of eight performances running April 21–30. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=21144\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What would it sound like if every \u003ca href=\"http://makerfaire.com\">Maker Faire\u003c/a> turned into a jam session, with music designed for bands of newly minted instruments? If you live in the Bay Area, you’re in the right place to discover the answer. California-based players and composers have been in the instrument-building and altering vanguard since Harry Partch started exploring \u003ca href=\"https://en.wikipedia.org/wiki/Just_intonation\" target=\"_blank\" rel=\"noopener\">just intonation\u003c/a> in the 1920s, and two upcoming events feature some of the most inventive performers on the contemporary scene.\u003c/p>\n\u003cp>On April 21, the \u003ca href=\"http://bampfa.org\">Berkeley Art Museum/Pacific Film Archive\u003c/a> presents \u003ca href=\"http://www.bampfa.berkeley.edu/event/full-invent\">“Full: Invent”\u003c/a> with \u003ca href=\"http://www.isproductions.com/joel/\">Joel Davel\u003c/a> on Marimba Lumina and \u003ca href=\"http://www.dresherensemble.org\">Paul Dresher\u003c/a> on the 14-foot single-string Quadrachord. (The triple bill also features \u003ca href=\"http://edwardschocker.com\">Edward Schocker\u003c/a> on his updated version of the glass harmonica and multi-instrumentalist \u003ca href=\"http://www.laurainserra.com\">Laura Inserra\u003c/a>, who specializes on the \u003ca href=\"https://en.wikipedia.org/wiki/Hang_%28instrument%29\" target=\"_blank\" rel=\"noopener\">hang\u003c/a>, a Swiss-built metal percussion instrument that resembles Hollywood’s notion of a UFO, circa 1955.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RRzMolxjjXI\u003c/p>\n\u003cp>Together in the aptly named Invented Instrument Duo, Dresher and Davel’s collaboration represents two distinct (and overlapping) approaches to creating new instruments. Dresher started as a guitarist and became intrigued by the physics of long strings. Working with \u003ca href=\"https://en.wikipedia.org/wiki/Daniel_Schmidt\">Daniel Schmidt\u003c/a>, he built the Quadrachord, which has become a primary compositional vehicle.\u003c/p>\n\u003cp>“Composers are always looking for new sounds and new ways to create sound,” Dresher says. “But even if you find something new, you have to make music from it that operates on time-honored criteria. A cool sound won’t hold up for a concert. You need to create a more elaborate musical statement that hopefully makes sense with a formal development and shape.”\u003c/p>\n\u003cfigure id=\"attachment_11497250\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11497250\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-400x600.jpg\" alt=\"Joel Davel, getting happy on the Marimba Lumina.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Joel Davel, getting happy on the Marimba Lumina.\u003c/figcaption>\u003c/figure>\n\u003cp>The BAM/PFA program also features Dresher’s most extensive performance yet on the Hurdy Grande, a recent creation with Schmidt that employs a hand-cranked mechanical wheel driving a bow, like a hurdy gurdy with nine-foot strings. “I knew from the Quadrachord, when strings get long, a different physics of sound [becomes] possible,” Dresher says. “I had to discover new playing techniques. It sounds like a bowed string instrument, but it does many things that bowed string instruments can’t do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If Dresher is a garage workshopper, Davel comes from the realm of digital technology. A conservatory-trained percussionist, he’s spent the past two decades working closely with electronic instrument pioneer Don Buchla, who earned a degree in physics from UC Berkeley in 1960 and went on to collaborate with avant-garde composers Morton Subotnick and Ramon Sender. While his East Coast contemporary Robert Moog tends to get credit for inventing the synthesizer, Buchla simultaneously came up with his own ingenious electronic interface with touch-sensitive plates, which are key components in the programmable Marimba Lumina.\u003c/p>\n\u003cp>“Don designed the electronics and I designed the circuit board,” Davel says. “I still build them myself. It’s a great position to be in. A lot of people who know how to do this kind of work don’t have the resources or time to translate that into compositions; a lot are stuck in universities too. Paul and I can tour for a month, so we get out there and refine the techniques we use.”\u003c/p>\n\u003cfigure id=\"attachment_11505740\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-1180x664.jpg\" alt=\"Paul Dresher and Joel Davel at the Hurdy Grande, one of Dresher's invented instruments.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11505740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Dresher and Joel Davel at the Hurdy Grande, one of Dresher’s invented instruments. \u003ccite>(Photo: Ian Umeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While not explicitly devoted to new instruments, the Yerba Buena Center for the Arts’ “\u003ca href=\"http://www.ybca.org/new-frequencies-fest-2016\">New Frequencies Fest: Sound (In) Art\u003c/a>” features several artists whose music is inextricably linked to creating new musical tools. Running from April 28–30, the festival kicks off Thursday with \u003ca href=\"http://www.pamelaz.com\">Pamela Z\u003c/a>’s “Memory Trace,” a powerful multimedia work by the San Francisco vocalist/electronics wizard. Friday’s program includes Berkeley cellist \u003ca href=\"http://www.theresawong.org\">Theresa Wong\u003c/a> playing her wrenching suite “The Unlearning” (inspired by the Berkeley Art Museum’s exhibition of Goya’s “Disasters of War” etchings), followed by Edward Schocker and the Crossing Ensemble’s “The Crossing,” an immersive composition that explores dynamic contrasts using contemporary practices and ancient Korean music.\u003c/p>\n\u003cp>The festival closes April 30 with a self-curated retrospective by dauntingly prolific Italian-born composer \u003ca href=\"https://en.wikipedia.org/wiki/Luciano_Chessa\">Luciano Chessa\u003c/a>. The conductor and pianist is known for his work on musical saw, the single-string Vietnamese dan bau, and his reconstruction of the groundbreaking hand-cranked mechanical instruments created by early 20th-century Futurist composer \u003ca href=\"https://en.wikipedia.org/wiki/Luigi_Russolo\">Luigi Russolo\u003c/a>. Chessa’s program includes his latest composition “Blind Date” for the guitar ensemble Mobius Trio, and features works spanning three decades in collaboration with 64 artists, including pianist Sarah Cahill, D. Mark Wilson’s Saint Columba Gospel Choir with soprano Laurel Duncan-Anderson, percussionist Andrew Meyerson, Maya Barsacq’s Cadenza Orchestra, and the chamber groups the Living Earth Show and Friction String Quartet.\u003c/p>\n\u003cfigure id=\"attachment_11505745\" class=\"wp-caption alignright\" style=\"max-width: 204px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/image_gallery.jpg\" alt=\"Luciano Chessa.\" width=\"204\" height=\"196\" class=\"size-full wp-image-11505745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/image_gallery.jpg 204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/image_gallery-32x32.jpg 32w\" sizes=\"(max-width: 204px) 100vw, 204px\">\u003cfigcaption class=\"wp-caption-text\">Luciano Chessa.\u003c/figcaption>\u003c/figure>\n\u003cp>Chessa was drawn to the Bay Area by its rich experimental lineage, and in fact teaches a class on the history of invented instruments in contemporary music at the San Francisco Conservatory of Music, “where we look at pioneers like Harry Partch, \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_harrison.html\">Lou Harrison\u003c/a>, and \u003ca href=\"https://www.buchla.com\">Don Buchla\u003c/a>, and the final project is that students create their own instruments,” he says.\u003c/p>\n\u003cp>“It’s definitely something I feel a part of,” Chessa says of the Bay Area’s history with creating new instruments. “I met Lou Harrison right after I moved to California in 1997, and of course he was a pioneer who studied Partch’s just intonation. In some ways I banked on California when I was offered the chance to reconstruct Russolo’s instruments. I could have done that in Italy, but I ended up doing it here, where I can just pick up the phone and call \u003ca href=\"https://en.wikipedia.org/wiki/Bart_Hopkin\">Bart Hopkin\u003c/a>,” referring to the renowned instrument builder in Point Reyes who published and edited the periodical \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Experimental_Musical_Instruments_%28magazine%29\" target=\"_blank\" rel=\"noopener\">Experimental Musical Instruments\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For Chessa, Dresher, Davel and dozens of other new-instrument pioneers, the Bay Area is and long has been fertile ground breeding new sounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\n‘Full: Invent’ takes place April 21 at BAM/PFA; \u003ca href=\"http://www.bampfa.berkeley.edu/event/full-invent\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. The 2016 New Frequencies Fest runs April 28–30 at YBCA; \u003ca href=\"http://www.ybca.org/new-frequencies-fest-2016\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What would it sound like if every \u003ca href=\"http://makerfaire.com\">Maker Faire\u003c/a> turned into a jam session, with music designed for bands of newly minted instruments? If you live in the Bay Area, you’re in the right place to discover the answer. California-based players and composers have been in the instrument-building and altering vanguard since Harry Partch started exploring \u003ca href=\"https://en.wikipedia.org/wiki/Just_intonation\" target=\"_blank\" rel=\"noopener\">just intonation\u003c/a> in the 1920s, and two upcoming events feature some of the most inventive performers on the contemporary scene.\u003c/p>\n\u003cp>On April 21, the \u003ca href=\"http://bampfa.org\">Berkeley Art Museum/Pacific Film Archive\u003c/a> presents \u003ca href=\"http://www.bampfa.berkeley.edu/event/full-invent\">“Full: Invent”\u003c/a> with \u003ca href=\"http://www.isproductions.com/joel/\">Joel Davel\u003c/a> on Marimba Lumina and \u003ca href=\"http://www.dresherensemble.org\">Paul Dresher\u003c/a> on the 14-foot single-string Quadrachord. (The triple bill also features \u003ca href=\"http://edwardschocker.com\">Edward Schocker\u003c/a> on his updated version of the glass harmonica and multi-instrumentalist \u003ca href=\"http://www.laurainserra.com\">Laura Inserra\u003c/a>, who specializes on the \u003ca href=\"https://en.wikipedia.org/wiki/Hang_%28instrument%29\" target=\"_blank\" rel=\"noopener\">hang\u003c/a>, a Swiss-built metal percussion instrument that resembles Hollywood’s notion of a UFO, circa 1955.)\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/RRzMolxjjXI'\n title='//www.youtube.com/embed/RRzMolxjjXI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Together in the aptly named Invented Instrument Duo, Dresher and Davel’s collaboration represents two distinct (and overlapping) approaches to creating new instruments. Dresher started as a guitarist and became intrigued by the physics of long strings. Working with \u003ca href=\"https://en.wikipedia.org/wiki/Daniel_Schmidt\">Daniel Schmidt\u003c/a>, he built the Quadrachord, which has become a primary compositional vehicle.\u003c/p>\n\u003cp>“Composers are always looking for new sounds and new ways to create sound,” Dresher says. “But even if you find something new, you have to make music from it that operates on time-honored criteria. A cool sound won’t hold up for a concert. You need to create a more elaborate musical statement that hopefully makes sense with a formal development and shape.”\u003c/p>\n\u003cfigure id=\"attachment_11497250\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11497250\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-400x600.jpg\" alt=\"Joel Davel, getting happy on the Marimba Lumina.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/joel_CRW_1871-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Joel Davel, getting happy on the Marimba Lumina.\u003c/figcaption>\u003c/figure>\n\u003cp>The BAM/PFA program also features Dresher’s most extensive performance yet on the Hurdy Grande, a recent creation with Schmidt that employs a hand-cranked mechanical wheel driving a bow, like a hurdy gurdy with nine-foot strings. “I knew from the Quadrachord, when strings get long, a different physics of sound [becomes] possible,” Dresher says. “I had to discover new playing techniques. It sounds like a bowed string instrument, but it does many things that bowed string instruments can’t do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If Dresher is a garage workshopper, Davel comes from the realm of digital technology. A conservatory-trained percussionist, he’s spent the past two decades working closely with electronic instrument pioneer Don Buchla, who earned a degree in physics from UC Berkeley in 1960 and went on to collaborate with avant-garde composers Morton Subotnick and Ramon Sender. While his East Coast contemporary Robert Moog tends to get credit for inventing the synthesizer, Buchla simultaneously came up with his own ingenious electronic interface with touch-sensitive plates, which are key components in the programmable Marimba Lumina.\u003c/p>\n\u003cp>“Don designed the electronics and I designed the circuit board,” Davel says. “I still build them myself. It’s a great position to be in. A lot of people who know how to do this kind of work don’t have the resources or time to translate that into compositions; a lot are stuck in universities too. Paul and I can tour for a month, so we get out there and refine the techniques we use.”\u003c/p>\n\u003cfigure id=\"attachment_11505740\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-1180x664.jpg\" alt=\"Paul Dresher and Joel Davel at the Hurdy Grande, one of Dresher's invented instruments.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11505740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dresher.MAIN_.IanUmeda-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Paul Dresher and Joel Davel at the Hurdy Grande, one of Dresher’s invented instruments. \u003ccite>(Photo: Ian Umeda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While not explicitly devoted to new instruments, the Yerba Buena Center for the Arts’ “\u003ca href=\"http://www.ybca.org/new-frequencies-fest-2016\">New Frequencies Fest: Sound (In) Art\u003c/a>” features several artists whose music is inextricably linked to creating new musical tools. Running from April 28–30, the festival kicks off Thursday with \u003ca href=\"http://www.pamelaz.com\">Pamela Z\u003c/a>’s “Memory Trace,” a powerful multimedia work by the San Francisco vocalist/electronics wizard. Friday’s program includes Berkeley cellist \u003ca href=\"http://www.theresawong.org\">Theresa Wong\u003c/a> playing her wrenching suite “The Unlearning” (inspired by the Berkeley Art Museum’s exhibition of Goya’s “Disasters of War” etchings), followed by Edward Schocker and the Crossing Ensemble’s “The Crossing,” an immersive composition that explores dynamic contrasts using contemporary practices and ancient Korean music.\u003c/p>\n\u003cp>The festival closes April 30 with a self-curated retrospective by dauntingly prolific Italian-born composer \u003ca href=\"https://en.wikipedia.org/wiki/Luciano_Chessa\">Luciano Chessa\u003c/a>. The conductor and pianist is known for his work on musical saw, the single-string Vietnamese dan bau, and his reconstruction of the groundbreaking hand-cranked mechanical instruments created by early 20th-century Futurist composer \u003ca href=\"https://en.wikipedia.org/wiki/Luigi_Russolo\">Luigi Russolo\u003c/a>. Chessa’s program includes his latest composition “Blind Date” for the guitar ensemble Mobius Trio, and features works spanning three decades in collaboration with 64 artists, including pianist Sarah Cahill, D. Mark Wilson’s Saint Columba Gospel Choir with soprano Laurel Duncan-Anderson, percussionist Andrew Meyerson, Maya Barsacq’s Cadenza Orchestra, and the chamber groups the Living Earth Show and Friction String Quartet.\u003c/p>\n\u003cfigure id=\"attachment_11505745\" class=\"wp-caption alignright\" style=\"max-width: 204px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/image_gallery.jpg\" alt=\"Luciano Chessa.\" width=\"204\" height=\"196\" class=\"size-full wp-image-11505745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/image_gallery.jpg 204w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/image_gallery-32x32.jpg 32w\" sizes=\"(max-width: 204px) 100vw, 204px\">\u003cfigcaption class=\"wp-caption-text\">Luciano Chessa.\u003c/figcaption>\u003c/figure>\n\u003cp>Chessa was drawn to the Bay Area by its rich experimental lineage, and in fact teaches a class on the history of invented instruments in contemporary music at the San Francisco Conservatory of Music, “where we look at pioneers like Harry Partch, \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_harrison.html\">Lou Harrison\u003c/a>, and \u003ca href=\"https://www.buchla.com\">Don Buchla\u003c/a>, and the final project is that students create their own instruments,” he says.\u003c/p>\n\u003cp>“It’s definitely something I feel a part of,” Chessa says of the Bay Area’s history with creating new instruments. “I met Lou Harrison right after I moved to California in 1997, and of course he was a pioneer who studied Partch’s just intonation. In some ways I banked on California when I was offered the chance to reconstruct Russolo’s instruments. I could have done that in Italy, but I ended up doing it here, where I can just pick up the phone and call \u003ca href=\"https://en.wikipedia.org/wiki/Bart_Hopkin\">Bart Hopkin\u003c/a>,” referring to the renowned instrument builder in Point Reyes who published and edited the periodical \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Experimental_Musical_Instruments_%28magazine%29\" target=\"_blank\" rel=\"noopener\">Experimental Musical Instruments\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>For Chessa, Dresher, Davel and dozens of other new-instrument pioneers, the Bay Area is and long has been fertile ground breeding new sounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003cbr>\n\u003cem>\u003cbr>\n‘Full: Invent’ takes place April 21 at BAM/PFA; \u003ca href=\"http://www.bampfa.berkeley.edu/event/full-invent\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. The 2016 New Frequencies Fest runs April 28–30 at YBCA; \u003ca href=\"http://www.ybca.org/new-frequencies-fest-2016\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen to Vintage Clips of Hilarious Bill Graham Impersonator, \"Fillmore Bill\"",
"headTitle": "Listen to Vintage Clips of Hilarious Bill Graham Impersonator, “Fillmore Bill” | KQED",
"content": "\u003cp>San Francisco rock promoter Bill Graham was never one to mince words. As he says in the documentary \u003cem>Fillmore: The Last Days\u003c/em>: “I can be the biggest putz in the world, and yell a lot. But I ain’t dishonest. And I will always tell you how I feel.”\u003c/p>\n\u003cp>Personalities like Graham tend to attract satirists, and sure enough, in 1990, a Graham impersonator arrived on the radio waves here in San Francisco. “Fillmore Bill” was a weekly regular on the morning show at KRQR, “The Rocker,” poking laser-sharp holes into Graham’s penchant for \u003ca href=\"http://www.homesweetjerome.net/bill-graham-at-fillmore-west/bill-graham-intimidation-as-a-negotiating-tactic/\" target=\"_blank\" rel=\"noopener\">slang-ridden tirades\u003c/a> in his unmistakable East Coast monotone. \u003c/p>\n\u003cp>Stories about “Fillmore Bill” have circulated for the past 25 years, but no clips of the routine have existed online — until now. After writing \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">a review\u003c/a> of the Contemporary Jewish Museum’s current exhibit \u003cem>Bill Graham and the Rock & Roll Revolution\u003c/em>, and wishing the show contained more of Graham’s famous prickly personality, a strange thing happened: I got a Facebook message from “Fillmore Bill” himself.\u003c/p>\n\u003cp>As it turns out, “Fillmore Bill” was the brainchild of David Gross, a radio DJ who I’ve known personally for years. He agreed to digitize his old tapes of the KRQR routine, which is why you can now hear “Fillmore Bill” negotiating with a pizza delivery guy 26 years after it originally aired:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258746163″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>As a diehard Grateful Dead fan, Gross heard Graham’s voice long before he ever knew what he looked like. Graham’s introductions on Dead recordings were well-known in the tape-trader circuit, and one particularly heated rant to an audience member climbing the scaffolding during a New Year’s Eve show at Winterland was amusing enough for Gross to whip up an impression. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years later, Gross did the impression at a house party, where KRQR morning DJ Paul “Lobster” Wells suggested he bring it on the show. Soon Gross was satirizing Bill Graham every week in a segment called the “Bitch & Moan Monday,” doing send-ups of Graham’s more megalomaniacal side. A segment about Graham trying to take control of the chaos at Woodstock is, in fact, eerily close to actual events:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258743961″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>The character of “Fillmore Bill” became well-known, and Gross recalls doing it at comedy clubs and, once, at SF Comedy Day in Golden Gate Park, “in front of I don’t know how many bazillions of people,” he says. “I came out with my clipboard, and did a Bill Graham introduction — a lot of people thought it was the real Bill Graham.”\u003c/p>\n\u003cp>It was only a matter of time before the real Bill Graham and “Fillmore Bill” met, and sure enough, Wells had Bill Graham in the studio one Friday when Gross called in. The resulting exchange is pure gold, with Graham at one point telling Gross, “Can I make a suggestion? Don’t press your luck.” After the call, Graham even had to concede that the impression is accurate:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258717936″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>So, did Gross ever meet Bill Graham in person? Shortly after their exchange on the radio, Gross recalls, he did approach Graham at a show to introduce himself.\u003c/p>\n\u003cp>“I was backstage at a Dead concert at the Greek Theater in Berkeley,” Gross says. “There I was, standing there, and Bill Graham was standing next to me. I said, ‘Hey, remember me? I’m the guy who impersonated you on the radio.’ He just looked at me, sized me up, and the lower lip came down, like Silvio on \u003cem>The Sopranos\u003c/em>. And he said, ‘OK.’ That was it.”\u003c/p>\n\u003cp>Gross is quick to clarify that though Graham had his enemies, his impersonation was a tribute and not a takedown. “I have nothing but respect and love for Bill Graham,” he says. “He and the Grateful Dead are the reasons I moved out to San Francisco 36 years ago. The environment he created, the shows he did, and everything he’s done for music in the Bay Area.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258745088″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>David Gross, known on-air as Big Dave, hosts “Rockabilly Roadhouse” and “Saturday Night Album Trax” on \u003ca href=\"http://www.krsh.com/index.php\" target=\"_blank\" rel=\"noopener\">KRSH-FM\u003c/a> in Santa Rosa. Paul “Lobster” Wells hosts “Lobster’s Sunday Brunch” on \u003ca href=\"http://www.977theriver.com/\" target=\"_blank\" rel=\"noopener\">KVRV-FM\u003c/a> in Santa Rosa. Gross retired the Bill Graham impersonation after Graham’s death in 1991.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bill Graham and the Rock & Roll Revolution’ is on display at the Contemporary Jewish Museum through July 5. \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco rock promoter Bill Graham was never one to mince words. As he says in the documentary \u003cem>Fillmore: The Last Days\u003c/em>: “I can be the biggest putz in the world, and yell a lot. But I ain’t dishonest. And I will always tell you how I feel.”\u003c/p>\n\u003cp>Personalities like Graham tend to attract satirists, and sure enough, in 1990, a Graham impersonator arrived on the radio waves here in San Francisco. “Fillmore Bill” was a weekly regular on the morning show at KRQR, “The Rocker,” poking laser-sharp holes into Graham’s penchant for \u003ca href=\"http://www.homesweetjerome.net/bill-graham-at-fillmore-west/bill-graham-intimidation-as-a-negotiating-tactic/\" target=\"_blank\" rel=\"noopener\">slang-ridden tirades\u003c/a> in his unmistakable East Coast monotone. \u003c/p>\n\u003cp>Stories about “Fillmore Bill” have circulated for the past 25 years, but no clips of the routine have existed online — until now. After writing \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">a review\u003c/a> of the Contemporary Jewish Museum’s current exhibit \u003cem>Bill Graham and the Rock & Roll Revolution\u003c/em>, and wishing the show contained more of Graham’s famous prickly personality, a strange thing happened: I got a Facebook message from “Fillmore Bill” himself.\u003c/p>\n\u003cp>As it turns out, “Fillmore Bill” was the brainchild of David Gross, a radio DJ who I’ve known personally for years. He agreed to digitize his old tapes of the KRQR routine, which is why you can now hear “Fillmore Bill” negotiating with a pizza delivery guy 26 years after it originally aired:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258746163″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258746163″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a diehard Grateful Dead fan, Gross heard Graham’s voice long before he ever knew what he looked like. Graham’s introductions on Dead recordings were well-known in the tape-trader circuit, and one particularly heated rant to an audience member climbing the scaffolding during a New Year’s Eve show at Winterland was amusing enough for Gross to whip up an impression. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years later, Gross did the impression at a house party, where KRQR morning DJ Paul “Lobster” Wells suggested he bring it on the show. Soon Gross was satirizing Bill Graham every week in a segment called the “Bitch & Moan Monday,” doing send-ups of Graham’s more megalomaniacal side. A segment about Graham trying to take control of the chaos at Woodstock is, in fact, eerily close to actual events:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258743961″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258743961″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The character of “Fillmore Bill” became well-known, and Gross recalls doing it at comedy clubs and, once, at SF Comedy Day in Golden Gate Park, “in front of I don’t know how many bazillions of people,” he says. “I came out with my clipboard, and did a Bill Graham introduction — a lot of people thought it was the real Bill Graham.”\u003c/p>\n\u003cp>It was only a matter of time before the real Bill Graham and “Fillmore Bill” met, and sure enough, Wells had Bill Graham in the studio one Friday when Gross called in. The resulting exchange is pure gold, with Graham at one point telling Gross, “Can I make a suggestion? Don’t press your luck.” After the call, Graham even had to concede that the impression is accurate:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258717936″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258717936″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So, did Gross ever meet Bill Graham in person? Shortly after their exchange on the radio, Gross recalls, he did approach Graham at a show to introduce himself.\u003c/p>\n\u003cp>“I was backstage at a Dead concert at the Greek Theater in Berkeley,” Gross says. “There I was, standing there, and Bill Graham was standing next to me. I said, ‘Hey, remember me? I’m the guy who impersonated you on the radio.’ He just looked at me, sized me up, and the lower lip came down, like Silvio on \u003cem>The Sopranos\u003c/em>. And he said, ‘OK.’ That was it.”\u003c/p>\n\u003cp>Gross is quick to clarify that though Graham had his enemies, his impersonation was a tribute and not a takedown. “I have nothing but respect and love for Bill Graham,” he says. “He and the Grateful Dead are the reasons I moved out to San Francisco 36 years ago. The environment he created, the shows he did, and everything he’s done for music in the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258745088″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258745088″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>David Gross, known on-air as Big Dave, hosts “Rockabilly Roadhouse” and “Saturday Night Album Trax” on \u003ca href=\"http://www.krsh.com/index.php\" target=\"_blank\" rel=\"noopener\">KRSH-FM\u003c/a> in Santa Rosa. Paul “Lobster” Wells hosts “Lobster’s Sunday Brunch” on \u003ca href=\"http://www.977theriver.com/\" target=\"_blank\" rel=\"noopener\">KVRV-FM\u003c/a> in Santa Rosa. Gross retired the Bill Graham impersonation after Graham’s death in 1991.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bill Graham and the Rock & Roll Revolution’ is on display at the Contemporary Jewish Museum through July 5. \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Sometimes all it takes is a guitar tone… to get me very locked in a song and wanting to be creative. And I found that tone — we wanted it to sound like a T-Rex was being strangled.”\u003c/p>\n\u003cp>\u003cem>— Jessica Dobson, Deep Sea Diver\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259624603″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Deep Sea Diver’s new album, \u003cem>Secrets\u003c/em>, is full of songs that mange to sound both elaborately crafted and effortless. While the Seattle outfit’s arrangements are immaculate, combining subtle keyboard figures and complex drum patterns with Dobson’s gorgeous guitar tones, they never sound fussed-over. They sound weightless.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Dobson — former touring guitarist for the Shins, Beck and the Yeah Yeah Yeahs — and the rest of her band share the story behind “It Takes a Moment,” a song that alternately gnashes its teeth and glows like a California sunset, in this episode of the podcast recorded in the band’s van outside of San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Additional songs heard in this episode:\u003cbr>\n\u003cstrong>David Bowie\u003c/strong> — “Scary Monsters (and Super Creeps)”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Deep Sea Diver perform Wednesday, May 4, at the Independent in San Francisco; \u003ca href=\"https://www.ticketfly.com/purchase/event/1117537?brand=anotherplanet&came_from=CFC_ANOTHERPLANET_web&q=ac3e176b-cfcd-4263-a180-95c4f9a3ab9b&p=8bf98569-9994-45ca-995c-8f964898a92a&ts=1460955649&c=ticketfly&e=0010a&rt=Safetynet&h=ebcbac6d9a789bd47629e3d12214775e\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Subscribe to ‘Listen In’ on iTunes \u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Follow KQED Arts on Soundcloud \u003ca href=\"https://soundcloud.com/kqed-arts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Sometimes all it takes is a guitar tone… to get me very locked in a song and wanting to be creative. And I found that tone — we wanted it to sound like a T-Rex was being strangled.”\u003c/p>\n\u003cp>\u003cem>— Jessica Dobson, Deep Sea Diver\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/259624603″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/259624603″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Deep Sea Diver’s new album, \u003cem>Secrets\u003c/em>, is full of songs that mange to sound both elaborately crafted and effortless. While the Seattle outfit’s arrangements are immaculate, combining subtle keyboard figures and complex drum patterns with Dobson’s gorgeous guitar tones, they never sound fussed-over. They sound weightless.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/LISTENIN.LOGO_.300x300.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/listen-in/id1068590108?mt=2\">Subscribe in iTunes!\u003c/a>\u003c/h3>\n\u003cp>Don’t miss an episode of ‘Listen In’!\u003c/p>\n\u003cp>Also available via \u003ca href=\"https://ww2.kqed.org/arts/programs/listen-in/feed/\">RSS\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>Listen in as Dobson — former touring guitarist for the Shins, Beck and the Yeah Yeah Yeahs — and the rest of her band share the story behind “It Takes a Moment,” a song that alternately gnashes its teeth and glows like a California sunset, in this episode of the podcast recorded in the band’s van outside of San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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